inet

WINTER, 1985 Volume 12, No. 2 International Clarinet Society > ■:

iifip

Pi pin' hot

Pete Fountain plays it hot. His clarinet...Leblanc. Experience the heat of a pipin' hot Pete Fountain. Now offered in four Leblanc artist and three Vito student models. For details, write to G. Leblanc Corporation, 7019 Thirtieth Avenue, Kenosha, Wisconsin 53141. © G. Leblanc Corporation 1985. Ail rights reserved.

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■ Musical chairs — Part II 2 Pierce's potpourri 3 met Jerry D. Pierce WINTER, 1985 International Clarinet Society 1985 Conference 4 Volume 12, No. 2 ICS Conference to feature variety 6 ICS Conference competition information 8 An interview with Colin Bradbury 10 James Gillespie The clarinetists of the B.B.C. Symphony Orchestra 12 British clarinet concertos 14 Ewart L. Willey The Czech scene 18 Bohumir Koukal Debussy's works for clarinet — Part II 19 Dennis Nygren Announcements 24 ICS members' activities 26 Clarinet talk 27 Arthur Henry Christmann Classified advertising 27 page 5 Concerts & Recitals 28 Swiss kaleidoscope 30 Brigitte Frick Beethoven's chamber music involving clarinet 34 Ricky Duhaime Claranalysis 40 Lee Gibson Care and repair 41 Robert Schmidt An Ode to Cylindrical Bores 44 page 31 Record rumbles 45 Jim Sauers Record reviews: Alan E. Stanek 46 John W. Kuehn 46 Keith M. Lemmons 46 Linda Pierce 47 William E. Grim 48 Jerry Pierce 48 Lyle Barkhymer 49 Book reviews: John R. Snyder 50 page 24 Dan Leeson 50 New music reviews: Fred Ormand 54 Ewart Willey 55 New publications for future review 55 Tom Foolery 56 Index of advertisers 56 ABOUT THE COVER: The clarinetists of the B.B.C. Symphony Orchestra. See story on page 12.

The Clarinet — 1 International Commercial Advertising/General Advertising Rate Clarinet 1 Issue 4 Issues 1 Issue 4 Issues Color Color B&W B&W Society Outside Back Cover . . . $660 $595 N/A N/A Inside Front Cover .... $570 $515 $330 $300 President, Jerry D. Pierce, 4611 Mounds Road, Anderson, Indiana Inside Back Cover $570 $515 $330 $300 46013. Phone (317) 643-2914. Full Page .. $475 $435 $265 $240 Past President, Lee Gibson, 1226 Kendolph, Denton, Texas 76201. Half Page N/A N/A $145 $130 Vice-President, David Etheridge, School of Music, University of Okla¬ One-fourth Page N/A N/A $90 $80 homa, Norman, Oklahoma 73069. One Column-inch N/A N/A $35 $35 Secretary, Norman Heim, 7402 Wells Blvd., Hyattsville, Maryland 20783 Treasurer, James Schoepflin, Dept. of Music, Washington State Universi¬ Pre-printed 4-page sigs — $250. Specifications furnished on request. ty, Pullman, Washington 99164. Phone (509) 335-3961. Editor, James Gillespie, School of Music, North Texas State University, A 10% discount on the second entry will apply for two or more con¬ Denton, Texas 76203. secutive entries of the same advertisement. Publisher, Betty Brocket!, 1774 Avalon, Idaho Falls, Idaho 83402. Phone (208) 522-0908. Circulation Information: Advertising Manager, Henry Duckham, Conservatory of Music, Oberlin (a) Rates based on 2000 copies. College, Oberlin, Ohio 44074. (b) Character of circulation: Clarinet teachers, students, and profes¬ Editorial Associates, Lee Gibson (address above); Himie Voxman, 821 N. sionals; college music departments and libraries. Linn, Iowa City, Iowa 52240. (c) International circulation. Editorial Staff, John Mohler (Editor of Reviews), School of Music, Uni¬ Deadlines for copy: Sept. 15, Dec. 10, March 10, May 10. Back issues: versity of Michigan, Ann Arbor, Michigan 48109; James Sauers (Associate for Reviews of Recordings), 1234 Summit Street, New single copies $6.00; order from Betty Brockett, 1774 Avalon, Idaho Falls, Haven, Indiana 46774; Arthur H. Christmann, 4554 Henry Hudson ID 83402. Parkway, New York, New York 10471; James Schoepflin (address Camera-ready commercial advertisements should be sent directly to: above); Henry Gulick, School of Music, Indiana University, Blooming- ton, Indiana 47405; John Anderson, School of Music, University of Henry Duckham, Advertising Manager Minnesota, Minneapolis, Minnesota 55455; Robert Schmidt, School of Conservatory of Music Music, Ithaca College, Ithaca, New York 14850; Brigitte Frick, Oberlin College Brachmattstr. 16, CH-4144 Arlesheim, Switzerland; Bohumi'r Koukal, Oberlin, Ohio 44074 Praskova 7, 772 00 Olomouc, Czechoslovakia. I.C.S. Research Center, Norman Heim, Coordinator, Music Depart¬ ment, University of Maryland, College Park, Maryland 20742. Regional Chairmen: Northeastern: Norman Heim. Address above. Southeast: F. Gerard Errante, 4116 Gosnold Ave., Norfolk, Virginia Musical chairs — Part II 23508. North Central: Himie Voxman, 821 N. Linn, Iowa City, Iowa 52240. South Central: Wilbur Moreland, Department of Music, University of Southern Mississippi, Hattiesburg, Mississippi 39401. Northwest: William McColl, 1354 E. Interlaken Blvd., Seattle, Washing¬ ton 98102. Phone (206) 322-7788. Southwest: Lee Gibson (address above). Western Canada: Ronald Goddard, School of Music, Brandon University, Brandon, Manitoba, Canada R7A 6A9. Eastern Canada: Leo J. Chak, 4 Forest Laneway #2308, Willowdale, On¬ tario, Canada M2N 2X8. Pacific: William Dominik, Conservatory of Music, University of the Pa¬ cific, Stockton, California 95211. International Liaison, Sherrick S. Hiscock II, P.O. Box 1212, Elizabeth City, North Carolina 27907. National Chairmen: Argentina: Mariano Frogioni, Juramento 5186, 1431 p. 1 "B", Buenos Aires, Argentina. Australia: Neville Thomas, 36 Bishop Ave., Randwick, Sydney, Australia 2031. Belgium: Marcel Ancion, Avenue Brachet 21, 1020 Brussels, Belgium. Chile: Luis Rossi, Los Leones 709, dep. 36, Providencia, Santiago, Chile. Czechoslovakia: Milan Kostohryz, U Smaltovny 22/A. Praha 7, Czecho¬ slovakia. England: Pamela Weston, 1 Rockland Rd., London SW15 2LN, England. France: Guy Deplus, 37 Square St. Charles, Paris, France 75012. LAROY BORCHERT has been named to the faculty at Italy: Prof. Michele Incenzo, Viale Tito Livio, 176, Rome, Italy. Phone New Mexico State University where he will be teaching clar¬ 349-3653. inet, saxophone, and oboe. In addition, he will also be teach¬ People's Republic of China: Wang Zhi-Jian, Tianjin Conservatory of ing theory and coaching woodwind ensembles. He earned Music, Tianjin, People's Republic of China. his B.M. from Concordia College in Moorhead, MN where Spain: Jose Thomas-Perez, General Romero Basart, 131 6.e Dcha., Madrid, Spain. Phone 705 4167. he studied clarinet with David Townsend and saxophone Singapore: Dr. Ong Eng San, 21D Grange Heights, Singapore 0923, with Gail Hall. After two years as the instrumental director Republic of Singapore. in the Greenbush, MN Public Schools, he entered Baylor Sweden: Kjell-Inge Stevensson, Mistelvagen 10, 5-197 00 BRO. Sweden. University where he studied with Richard Shanley, graduat¬ Uruguay: Horst Prentki, Varo 1078, Montevideo, Uruguay. ing with an M.M. in 1983 and went on to pursue his D.M. ICS Correspondent for Germany: Allan Ware, Krumme Strasse 26, D-4930 Detmold, West Germany. at Florida State University studying with Fred Ormand. He © Copyright 1985, INTERNATIONAL CLARINET SOCIETY has performed as clarinetist with the American Wind Sym¬ ISSN 0361-5553 All Rights Reserved phony Orchestra, Waco Symphony Orchestra, San Angelo Published quarterly by the INTERNATIONAL CLARINET SOCIETY Symphony Orchestra, Lake Charles Symphony Orchestra, Designed and printed by: FALLS PRINTING CO. — Idaho Falls, Idaho USA and, most recently, with the Blossom Music Festival. 2 — The Clarinet Pierce's potpourri

By Jerry D. Pierce, President, I. C. S.

It was a real pleasure this that, as an excellent player, this handicap after the war did past summer to talk to some not stop his career, and, in fact, his name lives on because of of the most knowledgeable some of the works that were written for him — such as the clarinetists about repertoire. Ravel Concerto for the Left Hand — and, in this case, the Although I never started out Schmidt. I might not have known all of these facts, but I do with plans for a hobby of col¬ listen to Paul Harvey's "The Rest of the Story" on the radio lecting clarinet music, when I can. (Paul's son, who writes the program, was once a through the years my search concert pianist himself.) Eric Simon played the Quintet of for the "not so common" li¬ Schmidt many times with Wittgenstein. I must confess that I terature uncovered pieces didn't know of Schmidt's music until all of these events took that I personally think are of place this fall. I now find that Schmidt's influence in music worth. Rosario Mazzeo once might have been the path German composers would have commented to me "I decid¬ followed had there not been Schoenberg. The two Quintets ed long ago that I couldn't that include clarinet (one quintet in A, the other in B-flat) own all of the music written are excellent chamber music and deserve to be better known for clarinet." It really is im¬ than they are. Now that I know of their existence, the search possible to keep track of our Jerry D. Pierce is on to find the music which was once published by Wein¬ ever-expanding repertoire. berger. Having evaluated many clarinet pieces for the annual "re¬ Dan Dolan, M.D., from Asheville, North Carolina has view" issue of The Instrumentalist this year, it is heartening to brought to my attention the fact that Vandoren is no longer see new editions of excellent works which make them once making the "German Facing" reed (that fit "French type" again readily available. One such piece is the Florent mouthpieces). Their German reed is now labeled "German Schmitt Sextour, Op. 120 for six clarinets (E-flat, two B-flats, Cut" or "German Model." These reeds are approximately basset horn [or E-flat alto], bass, and contra bass) now pub¬ 12mm at the tip and appear to us to be somewhat akin to an lished by Billaudot with both score and parts. One will pro¬ E-flat clarinet reed. While Karl Leister has been using this bably need both for a successful performance of this com¬ model of clarinet reed since 1981 (before then he used reeds plex, eleven-minute, four-movement work. I vaguely recall made by Gerhard Steuer); he also, of course, uses a German having seen that this piece was once recorded. (Jim Sauers style mouthpiece. Vandoren has retired the "German Fac¬ and Mike Bryant can probably deal this information right off ing" label (which was a "healthy" French reed) and does the top of their heads, complete with record number — but I not plan to make that style of cut now. It is my understand¬ can't be sure even about the existence of a recording.) I do ing that they will not exchange unopened boxes of the small¬ remember reading about it in a book describing instruments er German reed for their current French model either. So, of the orchestra. While the Mozart Clarinet Concerto was the "buyer beware!" Old boxes marked "German Facing" are example for the A clarinet, the Schmitt was the example used the only ones that will fit a normal French type mouthpiece. for the clarinet family. Fine company indeed. I thought I was John Newhill (25, Amberley Road, Sale, Cheshire M33 so lucky to find a copy of the work in Europe this summer. 10P, England) has made a cassette tape available of several Little did I know how readily available it would be. basset-horn works which have not been recorded before. The second issue of Jean-Marie Paul's Clarinette Magazine These are live performances and contain works by Rummel, (all in French of course) has arrived. While it may lack the Backofen, Roth, Weber, Schneider, and Krej£i. John is the cosmetics of some specialized journals, what a gold mine of basset-hornist on this cassette and interested persons may information is contained in its forty-two pages — a listing of contact him. the works of Klose, new music published in France, a listing Several members of the ICS have written to me asking of the clarinetists with all of the professional orchestras in about the Artie Shaw album that I mentioned in my column France, etc. Even with my meager French I've found much last year (Volume 11, No. 1). It is now available and titled information of value in this magazine. For more information Artie Shaw, A Legacy. To order this four-record set when you contact Jean-Marie Paul, Clarinette Magazine, 47, rue de aren't a member of the "Book-of-the-Month-Club" (and I'Yser, 67000 Strasbourg, France. Incidently, Jean-Marie I'm not), send a check for $29.70 ($27.95 for the album, plus Paul and Michele Hawecker were married on the 21st of $1.75 shipping and handling) to Book-of-the-Month Rec¬ September, 1984, and we extend to them our best wishes for ords, Camp Hill, PA 17011. The jazz selections are great, a life time of happiness together. but the Berezowsky Concerto is awesome! Selmer is introducing a new clarinet in Europe. This mod¬ If the remarks I hear from time to time about the Interna¬ el is called the "Recital." By the time you read this a few tional Clarinet Society are true, then we have to be the best models will be in the hands of players in this country. Ron kept secret in the music world. After twelve years of exis¬ Monsen of the University of Kentucky has scheduled some tence you would think that every clarinetist who was serious concerts using this new instrument. Selmer's departure from about his or her instrument would know of us, but I'm afraid standard wall thickness of the wood to the Recital's new thick such is not the case. What this really means is that we as wood will make our "thin" clarinets look like the outside size members are not doing our job of sharing what we know of the tubes used in metal clarinets by comparison. with others. Each of you is the best advertisement for YOUR Several weeks ago Mike Bryant in England sent me a cas¬ Society. Our membership should be increasing much faster sette of the Franz Schmidt Quintet in A (1938) for piano, clari¬ than it is. Our low dues now offer one of the best bargins of net, violin, viola, and cello. Was it mere coincidence that a any professional society, and the only way to keep the dues few days later Eric Simon sent me some rare music that had low is to increase the membership. It is my hope that in the been in Paul Wittgenstein's collection? Wittgenstein was a new year each of you will enlighten your friends and fellow one-armed pianist who had lost his right arm as a World players about the I.C.S. The officers will do all they can to War I hero. He might have well been forgotten today except help, but we can't do it all — it's up to you.

The Clarinet — 3 International Clarinet Society

1985 CONFERENCE

Oberlin College Conservatory of Music

Oberlin, Ohio

July 22-26, 1985

4 — The Clarinet Robert Marcellus

Robert Marcellus, the eminent clarinetist and teacher, will be a featured participating artist. He will conduct masterclasses open to all registrants and will work with a limited number of students. For more information on masterclass participation write the Con¬ ference.

Participating artists as of February 1, 1985: Walter Boeykens, principal clarinet, Philharmonic William McColl, professor of clarinet, University Orchestra of the B.R.T., Brussels of Washington Larry Combs, principal clarinet, Chicago Symphony David Ross, professor of clarinet, University of Texas Orchestra at El Paso Lawrence McDonald, professor of clarinet, Oberlin J. Lawrie Bloom, clarinet and bass clarinet, Chicago College Conservatory of Music Symphony Orchestra Hans Rudolf Stalder, principal clarinet, Tonhalle Russell Dagon, principal clarinet, Milwaukee Orchestra, Zurich Symphony Orchestra Jean Kopperud, free-lance clarinetist James Gillespie, professor of music, North Texas State Uwharrie Clarinet-Percussion Duo University Yokohama Clarinet Ensemble

Special events: • World Premieres for clarinet. Works by William Lath¬ ICS Concerts by Conference registrants am, Edward Miller, William Sydeman, Paul Martin Jazz Performances by Henry Duckham and Fred Starr Polombo, Conrad Cummings, Ralph Turek, and Enrique Lectures and Performances on chalumeaux, antique Raxach clarinets, and basset horns Exhibitors: Instrument and accessory manufacturers, mouthpiece makers and publishers. Facilities: The Oberlin College Conservatory of Music has excellent concert halls and abundant practice rooms and rehearsal space. Housing and dining facilities are moderately priced and conveniently located to the Conservatory. Oberlin: 45 minutes from downtown Cleveland. 30 minutes from Cleveland's Hopkins Airport. Limousine and college trans¬ portation will be available. Costs: Pre-registration (prior to June 15, 1985) $135 Husband and wife $175 Registration (after June 15) $150 Student group rate (three or more) $ 98 Dining and housing for the Conference period:: (Includes five nights lodging (Sunday through Thursday) and meals.) Single occupancy per person $115.00 Double occupancy per person $140.00 For more information see write-up on The International Clarinet Society 1985 Conference page 6 of this issue. To register, write: Oberlin College Conservatory of Music Oberlin, OH 44074 (216) 775_SM3

The Clarinet — 5 ICS Conference to feature variety

The 1985 International Clarinet Society Conference, CONCERTS: Mixed solo and ensemble concerts, to be which will be held at the Oberlin College Conservatory of known as ICS Concerts, will be scheduled throughout the Music in Oberlin, Ohio from July 22 through July 26, will Conference. The ICS Concerts will feature performances by feature an unusually wide variety of events. The schedule, as Conference registrants. A number of offers to perform have it currently stands, will include the following individuals and already been received, but others are invited. For informa¬ activities: tion on these concerts, and for information for those wishing to perform in the Marcellus Masterclasses, please write the MASTERCLASSES will be presented by the eminent Conference directors. clarinetist and teacher Robert Marcellus. It is difficult to ov¬ erestimate the impact Mr. Marcellus has had on the clarinet COMPETITION: An announcement of the 1985 Inter¬ world, both through his performing career as principal clari¬ national Clarinet Society Competition appears on page 8 in netist of the Cleveland Orchestra for twenty years, and as a this issue of The Clarinet. teacher who has guided scores of leading performers and teachers. The 1985 ICS Conference is particularly pleased DISPLAYS: A large number of exhibitors will be pre¬ that Mr. Marcellus will be present. sent, including instrument manufacturers, mouthpiece mak¬ ers, publishers, and equipment manufacturers. RECITALS will be presented by participating artists Walter Boeykens (principal clarinetist, Philharmonic Or¬ SITE INFORMATION: The Oberlin Conservatory chestra of the B.R.T., Brussels), Hans Rudolf Stalder (prin¬ of Music is a spacious facility, with excellent concert halls, a cipal clarinet, Tonhalle Orchestra, Zurich), J. Lawrie Bloom large practice unit, numerous rehearsal spaces, and conveni¬ (clarinetist and bass clarinetist, Chicago Symphony Orches¬ ent and moderately-priced housing and dining. The 1985 In¬ tra), Larry Combs (principal clarinetist, Chicago Symphony ternational Clarinet Society Conference is grateful for the Orchestra), Russell Dagon (principal clarinetist, Milwaukee donation of these facilities. For further information or to re¬ Symphony), James Gillespie (Professor of Music, North gister, write: Texas State University), and Lawrence McDonald (Profes¬ The International Clarinet Society 1985 Conference sor of Clarinet, Oberlin College Conservatory of Music). Oberlin College Conservatory of Music Concerts by other artists and groups include those by the Oberlin, OH 44074 (216) 775-8643 Uwharrie Clarinet-Percussion Duo, the Yokohama Clarinet Ensemble, and Jean Kopperud, in a performance of Stock- hausen's Harlekin. Clarification... An item that appeared on page 31 of the Fall 1984 issue of HISTORY: In the area of the history of the instrument, The Clarinet (Vol. 12, No. 1) titled " 'Reed' what Michel Ar- William McColl (Professor of Clarinet, University of Wash¬ rignon thinks of it" was a paid advertisement of the G. Le- ington), will discuss and perform on historical and modern blanc Corporation. Views and opinions expressed in that bassethorns, including his own replica of an 18th century advertisement are not necessarily those of the staff of The Griessling and Schlott instrument. (Only those who have Clarinet or of the International Clarinet Society. Ed. witnessed a presentation by Professor McColl can anticipate this event with proper enthusiasm!) David Ross (Professor of Clarinet, the University of Texas at El Paso) will offer a scin¬ tillating and learned view of the early history of the clarinet. International An appearance by the Smithsonian Chamber Players, with Clarinet Lawrence McDonald, classical clarinet, will also be a feature inert: Society of this aspect of the Conference. JAZZ: In the field of jazz performance, Henry Duckham, The Clarinet is the official journal of the International Clarinet Society. Published quarterly, it is sent without co-director of the Conference, will be on hand with his quar¬ charge to all members. tet. S. Frederick Starr, clarinetist, Soviet affairs specialist, jazz scholar (Red and Hot: A History of Jazz in the Soviet Union) Membership is open to anyone interested in the clarinet and college president, will present a view of early "chamber upon payment of annual dues. The following types of jazz" with his group. In addition, a screening of the docu¬ membership are available: mentary film on Artie Shaw will be shown. • Active and Student: The only category of mem¬ bership with voting privileges. U.S., Canada, WORLD PREMIERES: A number of world pre¬ Mexico, $15 annually. All other countries $25 an¬ mieres for clarinet will highlight the Conference. In addition nually, which covers the extra cost of mailing The to the ICS commission by William Latham, works by Ed¬ Clarinet magazine. ward Miller, William Sydeman, Paul Martin Polombo, and • Associate: A nonvoting membership available to Enrique Raxach will be premiered. Composer Conrad libraries, publishers, dealers, and others with an Cummings will write a new work for all clarinetists attending active interest in the clarinet music profession. the Conference, of an appropriately summery and celebra¬ $15 annually. tory nature, to be performed in an outdoor setting. Kent Kennan's recent transcription, for clarinet and piano, of the Send payment by check or money order in U.S. currency to: Prokofieff Sonata, Op. 94, for flute (or violin) will be per¬ NORMAN HEIM formed. Chamber works by Alban Berg will be presented, in Music Department observation of the composer's centennial year, as well as a University of Maryland lecture on Berg's clarinet works by Dennis Nygren (Profes¬ College Park, MD 20742 sor of Clarinet, Kent State University).

6 — The Clarinet M.ake sure your students play

the very best they can. Introduce them to the new

YamahaYCL'20 student model B'flat clarinet.

The new YCL-20 goes beyond need to play their very best. YCL-20 is competitively priced. what you would expect a stu¬ The body, with a 5-year Which makes it not only a superior dent clarinet to be. It repre¬ warranty, and made of high impact instrument but also a superior sents all that a student clarinet molded ABS resin, is unaffected value. should be. by weather and temperature, yet So introduce your students to To begin with, it's designed provides uniform resonance in the new YCL-20. Let them dis¬ for the student. And for the every register as well as superb cover the joy and excitement of beginning student, nothing is tonal quality. The nickel-plated 17 playing the very best they can. more important than an instru¬ key, 6 ring mechanism and stain¬ ment you don't have to struggle less steel springs deliver super with when learning the basics. sensitive action. Hand finished © YAMAHA And as the student pro¬ tone holes and bore are precision gresses and begins to play engineered for optimum tonal bal¬ more demanding music, ance. And to reduce the possibility Play the very best you can. he'll find the YCL-20 of damage during assembly, the more than equal YCL-20 has a new bridge key to the task. mechanism. That's because Actually, when you get right we were down to it, the new YCL-20 demanding student model has many of the when we features our most expensive pro¬ designed it, and fessional models possess. Yet, the insisted it possess the features students The International Clarinet Society 1985 Conference Oberlin College Conservatory of Music

COMPETITION

July 21, 1985

Eligibility: Open to all clarinetists who shall not have reached the age of 22 years by January 1, 1986.

Application: The following materials should be submitted, postmarked no later than June 15, 1985 and mailed to: ICS 1985 Conference Competition Oberlin College Conservatory of Music Oberlin, Ohio 44074 1. Application fee check for $15.00 (current ICS member) or $20.00 (non-member) made out to ICS 1985 Conference Competition. Fee is non-refundable. 2. Good quality reel-to-reel or cassette tape recording containing repertoire indicated below. Tape should be two-track stereo, recorded in one direction at 7 V2 ips. The name, address, telephone number of the contestant and the repertoire should be af¬ fixed to the cassette or the reel. The sequence of the selections on the tape should correspond to the repertoire list (Mozart, followed by contestant's selection). 3. A separate written statement attesting that the recording is the playing of the con¬ testant. The statement should show the name, address, telephone number, class level and name of the school or college (if a currently enrolled student) and age of the contestant as of January 1, 1986. Statement should be signed by contestant.

Repertoire: Preliminary tapes which must have piano accompaniment should include the follow¬ ing: 1) Weber, Concerto No. 1 in F minor, Op. 73, mvts. II and III. 2) Selection of the contestant's choice, not to exceed eight minutes. Work may be an etude, unaccompanied piece, or portion of a larger work. Semifinals and finals to be held at Oberlin will include preliminary repertoire, plus Spohr, Concerto No. 2 in E-Jlat, Op. 57, mvt. I.

Awards: The top three finalists will have a choice, based on their ranking in the Competition, of a professional line clarinet from a leading manufacturer. The Conference will have tuition fee waived for the three finalists. The person judged the best clarinet enrolled in high school grades 9, 10, 11 and 12 at the time of the competition will be awarded a cash prize of $250.00. Should this person not be one of the three finalists, conference tuition fee will be waived for that individual also.

Judging: Judges will be participating artists of the Conference. Semifinals will take place on Sunday, July 21, at the Oberlin Conservatory of Mu¬ sic. The final round will take the form of a public concert early in the Conference. Accompanists will be provided, if desired. Repertoire need not be memorized. Semi- finalists are expected to register for the Conference, and should notify directors of the Conference of their intent to compete within ten days of notification of acceptance. All tapes become the property of ICS 1985 Conference Competition.

The Conference is grateful to Yamaha, Boosey-Hawkes Buffet, Leblanc, Selmer, and Conn for donating instruments, and to the Oberlin College Conservatory of Music for the cash award.

8 — The Clarinet "The Henkin clarinet for

out-classes any student clarinet

on the market today."

—Lt. Col. C.A. Mac F. Lowell, Band Director New York Military Academy, Cornwall-On-Hudson, NY

"The Henkin clarinet seems to have conquered some of "...there is noticeable improve¬ the inherent intonation difficulties present in (other) ment in intonation...The throat clarinets." tones are also much more in —Everette Noel, Band Director tune." Martinsville JHS, Martinsville, VA —Claire Horn, Music Supervisor Saddleback Valley School Dist., My best sixth grade player could do everything Mission Viejo, CA ..except play with a good tone. I tried a variety of corrective measures—nothing helped. Finally, I "...I congratulate you on your gave him the Henkin clarinet. Presto! Great forethought...the screw adjust¬ sound and intonation. He got a first at ment on the crowfoot will be a contest.—Thanks!" boon to every school music —Mark A. Jones, Band Director teacher." Fort Calhoun JHS, Ft. Calhoun, NE —James IV. Gwyn, Band Director Marshall HS, Marshall, IL "...far superior to (other) beginning instruments...including Selmer Bundy "...the Henkin's intonation is as and Selmer Signet." good as my own Buffet of Paris." "I would be —Mike Cannon, Band Director —Sidney P. Janise, Band Director happy to have a Person High School, Roxboro, NC Prairie Elementary, Lafayette, LA complete set of Henkins all the time. "...you have the best student clari¬ "Key alignment seems to be It adds immeasurably net we've seen...uniformly in more in keeping with the size of to the sound of our band. tune and mechanically perfect."- students' hands and aids their —James Meridith, —Ed Etkins, Band Director technical facility greatly." Band Director Indian Crest JHS, Souderton, PA Dunbar MS, —Herman C. Byrd, Jr., Band Lynchburg, VA Director "The Henkin produces a defi¬ Salem School Dist., Salem, MO nitely better sound than the "The workmanship is Bundy, Vito, and others." "I like the Henkin so much, I impressive. The scale is even —Julian Early, Band Director started all my fifth graders on and in tune through all registers. Holly Hill-Roberts HS them and it has made a BIG The mechanical action of the Holly Hill, SC difference." Henkin is very precise and stable." —Clifford W. George, Band Director —John H. Panhorst, Band Director Lincoln JHS, Park Falls, Wl Vianney HS, St. Louis, MO "The (special) bore helps students produce a betterquality tone..." "My students are accustomed to "My clarinet section had a more reso¬ —Dick Wolford, playing on less than high grade nant sound and played crisper on Band Director instruments and the change in technical passages with the Henkin. I Longfellow JHS, sound was phenomenal." would be happy to recommend it to all ^ Hill City, KS —Carri Swope, Band Director my students.' Wagoner Public Schools —Gary W. Cowgill, Band Director Wagoner, OK Glendora JHS, Giendora, CA "This year is the first time that "The key mechanisms are much quieter...! the junior high band has like the response going across the break received a first division at contest. ...The Henkin has a richer sound—especially I give... credit to you and this in the lower register." Henkin clarinet." —Robert Shauver, Band Director —Robb G. Thiel, Band Director New Castle Crysler HS North Miami HS, Denver, IN New Castle, IN "In one word—excellent!" "The upper octave responds more freely...The —Salvatore LaRusso, Band Director keys on the Henkin cause less 'finger prob¬ Weston Middle School, Weston, CT lems' than on the other brands." —Robert W. Briggs, Band Director Surrey Public Schools, Surrey, ND For more information on the TM "Tuning is more uniform throughout the scale. The Henkin is so much better, there is no (bfenltii clarinet comparison." see your Conn Dealer or write —John Carroll, Band Director C. G. Conn, Ltd. Grapeland HS, Grapeland, TX PO. Box 727 Elkhart, IN 46515 An interview with Colin Bradbury

By James Gillespie, Editor (During the week of the International Clarinet Congress in London, C.B.: Let's go back to 1930 just a minute, because the whole Colin Bradbury, Principal Clarinetist of the B. B. C. Symphony Or¬ thing started then. There were no salaried orchestras in Lon¬ chestra, and I found time over lunch to chat about his musical activi¬ don, and the field was wide open if the money was available. ties. After instructing me on the proper way to pour a pint of The B.B.C. had the money to form a salaried orchestra. England's finest liquid refreshment, we got down to business. Ed.) They just got the finest wind players that they could out of James Gillespie: Especially with our American readers in London and the rest of England; they auditioned for the mind, could you sort out for us the various B.B.C. orches¬ most brilliant young string players, and they had this orches¬ tras and the organization and background behind the tra, which in 1930 until after the war, was absolutely the B.B.C.? pride and joy of everyone in England and 'round the world. Toscanini conducted it and was very happy to be associated Colin Bradbury: Well, I should imagine the whole concept with it. Of course, since the war other orchestras have grown of the B.B.C. and the Public Service Broadcasting Organiza¬ up. Now the B.B.C. Symphony Orchestra is in a unique po¬ tion is a bit of a mystery in the States. We were very lucky sition in that it is a radio orchestra; it does a lot of radio that when broadcasting first started in the 1920s that the gov¬ broadcasting. In fact, every single thing we do is broadcast ernment of the day, after starting with a consortium of wire¬ on the radio including all the live concerts. And, at the same less set manufacturers — that's how the whole thing started time, is the fifth of the London orchestras, the other four be¬ — decided in their wisdom that things ought to be put on a ing self-running, the B.B.C. being salaried. As such it has a more ordered footing and changed from the B.B.C. — Bri¬ special function, whereby not being totally dependent on the tish Broadcasting Company to the British Broadcast Corpor¬ box office, it can lead the way, as it were, in music and con¬ ation, with a Director-General, Lord Reith, who happened cert planning in London. That's the Symphony Orchestra. to be a visionary and who set up the B.B.C. as the public ser¬ Apart from that we have our regional orchestras. We used to vice organization we know today. And, of course, the com¬ have many more than we have now. But we have what was mercial radio in this country is very much a thing of recent the B.B.C. Northern Symphony Orchestra based in Man¬ years only having recently come to England in the 1950s and chester, and it's now been rechristened the B.B.C. Philhar¬ 1960s. One of the things which the B.B.C. was doing in the monic Orchestra. They do the same job in Manchester that early days was a lot of serious music. And, to that end, they we do in London. They do a lot of public concerts and studio formed their own orchestra in 1930, that being the B.B.C. work and a certain amount of touring. They also contribute Symphony Orchestra. to the national network just as we do. In Wales we have the J.G.: Can you describe the functions of the various B.B.C. B.B.C. Welsh Symphony Orchestra which fulfills the same orchestras based in London? function in Cardiff. There are public concerts there contri¬ buting to the network, and in Glasgow the B.B.C. Scottish Symphony Orchestra. So, those are the four — all run by the B.B.C. And it's interesting that in each of the centers where the B.B.C. has an orchestra, there are also independent or¬ chestras going at the same time. There's the Halle in Man¬ chester, the Scottish National in Glasgow and the Welsh Expert Philharmonia which plays for the opera in Cardiff. J.G.: All with completely separate personnel? Clarinet Repair C.B.: All with completely separate personnel and no dupli¬ Custom cation. And, of course, as you know, in London we have five symphony orchestras. Clarinet Mouthpieces J.G.: Yes. and Mouthpiece Refacing C.B.: Apart from that, there is the B.B.C. Concert Orches¬ Buffet If tra which is based in London and carries a lighter repertoire. Unfortunately, since 1980 we have no other light orchestras Sales and Service {' Giomvion Paris in the B.B.C. J.G.: Does playing with your orchestra differ appreciably from playing in other English orchestras? I suspect the fact Thomas Ridenour that everything is broadcast is the most obvious difference? 35 Lake Street C.B.: Yes, but the main difference is repertoire. The fact is when you broadcast everything, you cannot repeat yourself Middletown, CT 06457 very often. That, coupled with the fact that we do have our 203/347-7801 duty to the contemporary composer and not to the box of¬ fice, means that we have, I should think, the widest reper¬ toire of any orchestra in the world. J.G.: To change the subject a bit, how did your interest in TOM'S 19th-century clarinet music come about that has resulted in your three recordings, The Victorian Clarinettist, The Drawing Room Clarinettist and The Italian Clarinettist? CLARINET SERVICE C.B.: Because I wanted to do some recording, and I didn't

10 — The Clarinet want to do just the same repertoire, however fine, because you? it's very limited. And if one takes only the very, very finest of C.B.: I've done a lot of avant-garde music with the orches¬ music that's been written for the clarinet, then the repertoire tra. Pierre Boulez was our conductor, and I very much en¬ is small. As soon as you delve below the surface, you have joyed that period. When you do a lot of avant-garde music, something bigger. The original idea was really to get Victor¬ one doesn't expect all of it to be good. Only hindsight and ian light music, airs and variations and that kind of thing — posterity will tell. Some of it is painful, some of it is enter¬ really amusing salon stuff with no real depth. I started off the taining, some of it is challenging and some of it is very plea- project and then Oliver Davies became involved. He is my sureable. As for solo clarinet avant-garde music, I've done pianist and a scholar of no mean order and is very keen on very, very little. I don't know why this is, perhaps specializ¬ 19th-century music. And it was through him that we started ing in the other things? I've really not been all that keen on researching the repertoire much more deeply and much spending a lot of time developing modern techniques. I think more widely and coming up with the kind of things we are I can play a multiphonic with the best of them, but I doing — which is great fun, and it was a lot more scholarly wouldn't say I have a large repertoire of multiphonics. I real¬ than I originally envisaged. ly do regard top C as the top note of the clarinet. I know I'm J.G.: Since very little of the music was published when you very old fashioned like Cavallini, but he wrote chromatics up recorded it, where did you locate it? In libraries here in Lon¬ to it, you know? So, I'm opened minded about avant-garde don? music in my orchestra life, but I've never gone out of my way as a soloist to play it. C.B.: Oliver had a collection of albums of nineteenth- century clarinet music that he had since he was a student and J.G.: What is your perception of the American school of used to work with a clarinet player. Those formed the basis. clarinet playing? And then in noting dedicatees and chasing things through C.B.: I hate generalizing like this for I have a basic mistrust and using Pamela Weston's book, Clarinet Virtuosi of the Past of pigeonholes. It annoys me intensely when people start — a great source book. Oliver spent many, many hours in talking about the "English School of Clarinet Playing." the British Library searching for things, and that's how we There is no such thing. It's the same as people generalizing came up with our repertoire. Also, my original teacher from about instruments. When I was a student, Jack Brymer was Blackpool, who recently died, sent me his library, and my fairly new on the scene as an established soloist and as Princi¬ bass clarinet colleague in the B.B.C., Tony Jennings, his pal with the Royal Philharmonic Orchestra. My teacher, teacher has got the library of early 20th, late 19th-century Frederick Thurston, played rather differently. If you listen entertainment music, and we sifted through all these. We to them both today from recordings taken at that time you'll eventually came out with a half dozen pieces we thought find totally different sounds on identical instruments. If you were worth putting out. had told me at that time that one was going to be called by J.G.: Your most recent album, what's on that? students as the "English School," I would have laughed at them and so would other people. Where did Reginald Kell C.B.: Well, the first one we did was the Victorian one which and Bernard Walton fit into all this? I don't believe there is is music that was English or music that would have been per¬ an English School of Clarinet playing as such, except in the formed by clarinet players such as Lazarus. The second one widest possible terms. And with English teachers, there is so was drawing room, more serious music, really, from the ear¬ much laissez faire about the English conservatoria. People lier part of the century from all over Europe. A lot of it would can come to the Royal College or the Royal Academy, have been published really for "piano and clarinet" rather Guildhall, or Trinity and they can choose their own profes¬ than "clarinet and piano" by composers such as Spohr, Ros¬ sor; they can change their own professor mid-stream if this is sini, Reissiger, and people like this. With the Italian one, the possible with the people concerned within the institutions latest, we had the idea of basing it on a player, as the Victor¬ and no one, but no one is a head of the department to lay ian one was based on Lazarus, the Italian one had to be down a school of playing. It's just not like that, I'm afraid. based on Cavallini. He was an absolute giant. So, we spent And I think you'll find that, and this is no reflection on any three days in the Conservatory Library in Milan, and we individuals, that pigeonholes are a convenient way of not went through every piece of clarinet music they've got there having to think. You asked me about the American School of and came back with a pile of photocopies including nearly all Clarinet Playing. Is there an American School of Clarinet of Cavallini's works and a lot more besides. We spent hours Playing? and hours going through it all when we got back to London, and we came up with our Italian program — one side all Ca¬ J.G.: Almost everything you've just said would also apply to vallini, the other side other people, contemporaries, friends. America, I believe. J.G.: Do you have many opportunities to play chamber C.B.: All I can say is that when you listen to some American music with all your orchestra responsibilities? players in orchestras, hearing them anonymously, you'll hear a certain similarity between them, but as soon as you C.B.: I've not done chamber music, as such, for some time. listen to the greater names of American players, they are in¬ We used to have an ensemble, but it dispersed. My own en¬ dividuals again. ergies have been divided into three ways with the solo work, J.G.: Any plans for researching more literature, old or new? my orchestral post and my teaching at the Royal College. What country after Italy? But I've just done a solo tour of Australia, and when I was there I got involved with some chamber music. I feel it's a C.B.: After Italy we've got a few ideas, not to let too many part of my life I've been missing out on, perhaps. But you cats out of the bag. There are other European countries can't do everything, can you? (chuckle), and there are also other periods. J.G.: Have any of the new avant-garde works interested J.G.: Thanks for sharing all this with our readers.

The Clarinet — 11 The clarinetists of the B.B.C. Symphony Orchestra

Left to right: Anthony Jennings, Colin Bradbury, Donald Watson, Roger Fallows.

Principal Clarinetist Colin Bradbury was born in Black¬ Donald Watson, Sub-Principal Clarinet, joined the or¬ pool, Lancashire and began playing the clarinet at age ele¬ chestra in 1973. He studied at the Royal College of Music ven. He joined the National Youth Orchestra at fifteen and with Colin Bradbury and served as a member of the B.B.C. became Principal Clarinet a year later. He studied at the Training Orchestra in Bristol (1968-69) and as Principal Royal College of Music with Frederick Thurston and later Clarinet in the B.B.C. Northern Ireland Orchestra with Sidney Fell and won the Tagore Gold Medal awarded (1969-73). He has taught at Eton College and at the City of to the best final-year student. Before joining the B.B.C. London Literary Institute. He plays Boosey & Hawkes 1010 Symphony Orchestra, he played with the Sadlers Wells Op¬ clarinets with a Boosey & Hawkes mouthpiece, Vandoren era Orchestra. His concerto performances have included reeds (No. 2 or 3) and a Boosey & Hawkes ligature. His hob¬ those by Mozart, Weber, Debussy, Busoni, Nielsen, Conrad bies include sea fishing, collecting modern prints, and glid¬ Beck and Stanford. He is a Professor at the Royal College of ing. Music and coaches the woodwind section of the National Youth Orchestra of Great Britain. His clarinets are Boosey Bass Clarinetist Anthony Jennings started playing at age & Hawkes 1010s with a Boosey & Hawkes mouthpiece, Van- fourteen. He served five years in the Irish Guards Band be¬ doren (No. 3) reeds and ligature, and he enjoys brewing beer coming Solo Clarinet. He studied at the Royal College of and playing golf as hobbies. Music with Frederick Thurston and Bernard Walton. Before joining the B.B.C. Symphony Orchestra in 1955 he played Roger Fallows serves as the orchestra's Co-Principal and in the Festival Ballet Orchestra and the Yorkshire Symphony E-flat Clarinetist. He studied at the Trinity College, Cam¬ Orchestra. He plays Boosey & Hawkes clarinets, mouth¬ bridge and at the Royal Academy of Music. Before joining piece, and ligature with Vandoren reeds. His hobbies in¬ the B.B.C. Symphony Orchestra in 1971, he played in the clude gardening, car maintenance, bread baking, bird London Sinfonietta. He plays a Buffet RC Prestige clarinet watching, and travel. with a Vandoren A2 glass mouthpiece and Vandoren (No. 2) reeds. His hobby is antiques.

12 — The Clarinet bme of the most enchanting clarinet

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of our new clarinets. From excellence British clarinet concertos

By Ewart L. Willey This article is based on the reductions for clarinet and pi¬ succeeded by Sir Adrian Boult, and he may be said to have ano of concertos contained in my collection of clarinet music established the direction the BBC's musical activities were to which was started in 1937. Thus, many of the items are in follow. print and furthermore, it should not be too difficult to obtain The Concertino is in one movement made up of three sec¬ a sight of any that are now out of print. tions, the slow middle section being a mere twenty bars in The piano reduction is an absolute necessity for the gener¬ length. As a footnote to the score, the composer states that al body of players to gain knowledge of and acquaintance two themes are based on sketches by Cavallini (1807-1874), with a concerto; it is only the fortunate few who have the op¬ the Italian virtuoso. There are two written out cadenzas — portunity to play such a work with an orchestra. Many con¬ the original which is a monument to the virtuosity of Gomez certos must owe their survival to the fact that the composer, — and a simplified version. As regards the work as a whole, and perhaps more importantly the publisher, has provided a the solo part is athletic and difficult, though the orchestra piano score at the outset. On the other hand in a few cases, plays an integral function and not that of a mere accompani¬ the merits of a work have caused a demand for a reduction ment. As a minor landmark in the history of the clarinet con¬ which has only been met after many years; a prime example certo, I feel that this work merits an occasional hearing. is the Concerto by Sir Charles Stanford which was tantalizing- The Pitt was shortly followed by a major work, the Concer¬ ly unavailable for nearly 75 years. to, Op. 80, by Sir Charles V. Stanford (1852-1924). It was Even though the earliest date of publication that will be the second of Stanford's three works for clarinet (Three Inter¬ mentioned is 1898, there seem to have been few clarinet con¬ mezzi, Op. 13 and Sonata, Op. 129), and was written for certos by British composers written and published before Miihlfeld. He refused to play it and the dedication was that date. Pamela Weston in her book More Clarinet Virtuosi of crossed off the full score. The first performance was then giv¬ the Past (pub. Pamela Weston 1977) mentions only three: two en by Charles Draper in 1904. The work would have re¬ by John Mahon, published in 1785 and 1790 respectively, mained largely unknown but for the championship of Fre¬ and one by Joseph Williams (1795-1875). Very recently a derick Thurston, who first played it as a student at the Royal Concerto by James Hook (1746-1827) written in 1812 has College of Music in the presence of the composer and also come to light and been published for the first time. gave a number of performances over the years. There were In Europe, the form attracted many composers. The very also a few bars quoted in a text book on orchestration by Ce¬ first clarinet concerto is thought to be that by Johann Stamitz cil Forsyth — but despite numerous requests to the publish¬ who died in 1757 (Leeds, 1953). Mozart's great masterpiece ers who owned the music, it remained unavailable. Then in was written in 1791, to be followed by Weber and Spohr. Al¬ 1977 Cramer and Co. published a piano score. The piano so there was no lack of works by lesser composers (which are part is excellently arranged by Pamela Weston so as to be now being made increasingly available by such publishers as playable by a pianist of reasonable attainment. The availa¬ Edition Kunzelmann and Musica Rara). However, the bility of the music was followed in 1980 by a gramophone Mozart Concerto was not performed in England until 1838, record of a performance by Thea King (Hyperion — reflecting a lack of interest on the part of British concert- A66001). The Concerto is in three movements that follow each goers in concertos — the popular clarinet solos were virtuoso other without a break, and the soloist changes from B-flat to variations on operatic themes. A clarinet for the last movement. Unlike the traditional ap¬ The one example of an early 19th-century concerto, that proach, there is not a long introduction, the clarinet entering by James Hook, has an interesting preface by Jack Brymer in the ninth bar — and, furthermore, there is no cadenza. recounting how a barely decipherable manuscript full score This work is lyrical with an individual style, and there is no was found in a Tokyo library by a former pupil of his. virtuosity lor its own sake. It is an important and beautiful Messrs. Brymer and Paul Meecham have prepared playing piece. versions and a piano reduction. There are the normal three The next concerto to appear seems to be that with string movements and the music is very pleasant, being obviously orchestra by Alan Rawsthorne (1905-1971). It was written designed to appeal to the listener through its own merits for Frederick Thurston as was this composer's Quartet for rather than by providing a display of instrumental acrobatics Clarinet and Strings (1948) — (Oxford University Press, 1950) by the soloist. The piano score, published by Josef Wein¬ — and Thurston gave the first performance of the concerto berger (1983), is well designed for the pianist. There are in 1937. Again there was to be a lapse of time before the pi¬ some suggested cuts, but even without these the work does ano score was published which was issued by Oxford Univer¬ not present any tedium. sity Press in 1972 — and Thea King has also made a record The re-introduction of the clarinet concerto to the concert ol the work (Hyperion A 66031). There are four movements: halls of Britain is attributed to Manuel Gomez (1859-1922), Preludio, Capnccio, Aria and Invention. This is a substantial a leading player of his time, who was also largely responsible contribution to the repertoire, but Rawsthorne's music does for the introduction of the Boehm system into this country. not wear its heart on its sleeve and requires effort on the part Also, no doubt, the appearance of the Brahms masterpieces of the listener. The piano score, made by another composer, and the playing of Richard Miihlfeld were contributing fac¬ Gerard Schurmann, requires a very competent pianist. tors. Percy Pitt (1870-1932) wrote his Concertino in C minor, Joset Holbrooke (1878-1958), a prolific and uneven com¬ Op. 22, especially for Gomez. It was first performed in 1897 poser, wrote a Double Concerto, Op. 119 for clarinet, bassoon and the piano score published in 1898 — it is now available and orchestra in 1939, which had two dedicatees, Reginald from Boosey and Hawkes Music Archive. Percy Pitt was pri¬ Kell and the great bassoonist Archie Camden. Holbrooke marily a stage and light music composer who will be mainlv frequently found literary inspiration, often from the works of remembered as the first Director of Music of the British Edgar Allan Poe, and in this case it was an early poem "Ta¬ Broadcasting Company. He conducted the first of the BBC's merlane." On the full score each of the three movements is public concerts in 1924. On his retirement in 1930, he was preceded by a quotation from this poem. A piano reduction

14 — The Clarinet is available from the Blenheim Press, who also publish the The third such arrangement was published by the Oxford composer's clarinet quintet which was recorded by Reginald University Press in 1952. Again it is a concerto with string Kell on 78 rpm records. Unfortunately, the Poe quotations orchestra, this time arranged by Sir John Barbirolli from the do not appear on the piano score; neither does the name of works of Handel (1685-1759). It is dedicated to Pat Ryan Archie Camden — a regrettable oversight. It is a full blood¬ who was principal clarinet in the Halle Orchestra under Sir ed romantic piece requiring very competent players — and a John. Ryan played a simple system clarinet with a virtuosity recent broadcast performance by Thea King, Martin Gatt that precluded any need for the improvements of Boehm. and the English Chamber Orchestra showed that it merits a Again, the work is in four movements, the first taken from better fate than the virtual oblivion which has overtaken it. one of Handel's concertos, the second from a trio sonata, the Two other works to appear during the war period were ar¬ third based on an aria from the oratorio Belshazzar, and the rangements from the works of classical composers. A third fourth is from an organ concerto. It has the easiest solo part such work was to appear in 1952. The most well known, and of these three concertos and is a pleasant incursion into the indeed the best of these, is the Concertino for clarinet and baroque period, useful as a student piece, but lacking the in¬ strings arranged by Gordon Jacob (1895-1984) from two vio¬ spired flair displayed by Gordon Jacob. lin sonatas by Tartini (1692-1770). The result is a very idio¬ In 1945 Elizabeth Maconchy (b. 1907) wrote a concerto matic clarinet work which goes exceedingly well with the pi¬ for clarinet and string orchestra for Frederick Thurston, but ano (Boosey and Hawkes, 1945). It was preceded by a con¬ sadly the work still awaits publication. Miss Maconchy has certo for soloist and strings freely arranged by Arthur Benja¬ established recognition as an important and intellectual com¬ min (1893-1960) from the keyboard works of Cimarosa poser, and her two compositions for clarinet that have been (1749-1801). Benjamin is better known to clarinetists for his published — the Quintet for clarinet and string quartet (Ox¬ Le Tombeau de Ravel for clarinet and piano (Boosey and ford University Press, 1966) and the Fantasia for clarinet and Hawkes, 1958). The solo part of this concerto may be played piano (Chester, 1981) — make one hope that the Concertino by flute, oboe, violin or clarinet. However, the clarinet part will be made available. is not just a version of a general purpose solo part, but uses Four years later, Frederick Thurston gave the first per¬ the full range of the instrument. There are four movements, formance of another work dedicated to him, the Concerto for and the whole is an effective and not too difficult solo work clarinet and strings by Gerald Finzi (1901-1956). The work which goes well with the piano (Hawkes 1942). As one of the was composed in response to a request in 1948 for a work for very few new works to appear in Britain during the War, it string orchestra to be played at the Three Choirs Festival of was a very welcome arrival. 1949. Finzi had, for some time, wanted to write a concerto

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The Clarinet — 15 for clarinet and strings, and he obtained the agreement of the had already had a symphony performed at the 1952 Chelten¬ festival authorities to this change. He then asked Frederick ham Festival, which raised hopes that here was a composer Thurston if he would be the soloist, with the result that there who might make his mark on the musical scene. These hopes was the closest cooperation between them throughout the were buoyed by the favourable impression made by the con¬ writing and preparation of the concerto. The outcome can certo, but have not been fulfilled. A piano reduction was only be described as a major work. There are two recordings published by Oxford University Press in 1955. It is romantic of it, by John Denman (Lyrita SRCS 92) and by Thea King and melodious and in no way avant-garde; it does not re¬ on the same disc as the Stanford Concerto. The eagerly await¬ quire exceptional virtuosity. This work certainly merits re¬ ed piano score was published by Boosey and Hawkes in hearing. 1951. Gilbert Vintner (1909-68) was a well known and successful Another work dedicated to Thurston was the Concerto with composer of lighter music, and one had some expectation string orchestra, Op. 20 by Malcolm Arnold (b. 1921) who that his Concertino would be a notable addition to the reper¬ had given up trumpet playing for composing and had burst toire. Sight of the piano score (Boosey and Hawkes, 1955) on the scene in 1945 with a rumbustious overture Beckus the dispelled these hopes, though the work could be used as a Dandipratt, Op. 5. The exuberance and lyricism of the con¬ student piece. certo proved immediately attractive and further established Alun Hoddinott (b. 1929), a Welsh composer, made an Arnold's name as a composer with a sense of humour. The early impression with a Concerto, Op. 3 for A clarinet and soloist is not presented with any great difficulties. The piano string orchestra. It was first performed at the 1954 Chelten¬ score appeared in 1952 (Lengnick). ham Festival by Gervase de Peyer and the Halle Orchestra More recently Arnold wrote a second Concerto (Op. 115), conducted by Sir John Barbirolli. The Concerto has three this time for Benny Goodman who gave the first perfor¬ movements: Capnccio, Arioso and Burlesca. It is an interesting mance in 1974. We then had to wait another seven years be¬ and attractive piece requiring a good player. The solo part fore Faber Music published a piano reduction. For this was published by Oxford University Press in 1955, and the work, flutes, oboes, bassoons, horns and percussion were piano reduction appeared in 1964. Hoddinott has gone on to added to the orchestra. As might be expected, the style has a establish himself as a major Welsh composer with an impres¬ large element of jazz, and an improvised cadenza is called for sive list of compositions of all forms, including a clarinet So¬ in the first movement as "jazzy and way out as you please nata, Op. 50. based on the concerto's themes." The piano reductions of Another major Welsh composer who has given us a Concer¬ both concertos are playable. to is William Mathias (b. 1934). His first work for clarinet Two works appeared in 1953. A Concertino by Matyas Sei- was a Sonatina, Op. 3, which made a considerable impression ber (1905-1960) and a Concertante by Joseph Horovitz (b. at the 1957 Cheltenham Festival. The Concerto, which is with 1926) — both written for clarinet and strings. strings and percussion, is Op. 68. The clarinet part has been A review in The Times of an early performance of the Sei- published, but the piano reduction is available only on hire ber described it as "a little masterpiece." The concerto start¬ (Oxford University Press). ed life as a clarinet sextet in which form it is sometimes Gordon Jacob was 60 in 1955 and to mark the occasion played. There are five movements: Toccata, Variazioni sempli- Adrian Cruft (b. 1921) wrote a Concertino, Op. 21 with ci, Scherzo, Recitativo and Finale. It is a tuneful, rhythmically strings. Cruft is a seriously minded composer who writes in a interesting and highly individual work requiring considera¬ conservative idiom. Composition is but one of his activities; ble fluency on the part of the soloist. This is Seiber's largest he has also been a double bass player, teacher and conduc¬ work for the clarinet — he also wrote the very witty DreiMor- tor. The Concertino is in three movements, and there is a ca¬ genstern Lieder (1929) for soprano and clarinet (Universal denza in the slow middle movement. However, it is not a 1956) and an excellent short piece for clarinet and piano, An- display piece, and requires thoughtful musicianship as well dantino Pastorale (Schott, 1950). as a good command of the instrument. The work merits The Concertante is Horovitz's first published work for clari¬ more frequent performance. Joseph Williams published the net. It was written in 1948, and the composer has provided a piano reduction in 1956. Cruft followed this with an Im¬ version for clarinet and piano (Chester, 1953). It is a pleas¬ promptu, Op. 22 for clarinet and piano in memory of Freder¬ ant piece, of no great individuality — almost a modern equi¬ ick Thurston which can also be played with string orchestra valent of the Weber Concertino, though not as difficult. It is in (Joseph Williams, 1957). four continuous sections, the last of which, an Allegro grazi- Another work which has failed to establish itself in the re¬ oso, is very much in the style of Weber. The ready availabil¬ pertory is a Concerto for A clarinet and string orchestra by ity of the Concertante on the shelves of music shops is evidence Ivor Keys (b. 1919) (Novello, 1959). The composer is Pro¬ of its continued popularity. fessor of Music at Birmingham University. The work is in Horovitz followed this with a Concerto, Op. 7, also with three movements, the third being a theme and variations; strings, written for Gervase de Peyer. This is a very much the theme is played by the orchestra and the clarinet does not more individual piece calling for a much higher level of tech¬ enter until the first variation. The solo part fully exploits the nique from the soloist. It is in the standard three-movement characteristics of the clarinet, but I find the whole work rath¬ form and shows a rhythmic vitality and attractiveness for er disappointing. which this composer's music has subsequently become The next work to appear was Arnold Cooke's (b. 1906) known, e.g. in the Clarinet Sonatina of 1981. The piano reduc¬ Concerto, again with string orchestra. This has achieved some tion was published in 1956 by Mills Music. popularity and has been recorded by Thea King (Hyperion A full scale concerto had its first performance by Sidney A 66031). It is another "Cheltenham" work having been Fell and the London Symphony Orchestra under Sir Mal¬ given its first performance at the 1957 Festival by Gervase de colm Sargent in 1954. It was by John Veale (b. 1922) who Peyer. This composer has written a number of worjcs for

16 — The Clarinet clarinet — Suite for Three Clarinets (Oxford University Press, mance by students and amateurs, both soloists and orches¬ 1959), Three Songs of Innocence for soprano, clarinet and piano tras. (Oxford University Press, 1960), Sonata for clarinet and pi¬ The last work to be mentioned is the Mini-Concerto with ano (Novello, 1962), Quintet for clarinet and strings (Oxford string orchestra which Gordon Jacob wrote in 1980 for Thea University Press, 1963) and recently published trio for clari¬ King in appreciation of her performance of his clarinet quin¬ net, cello and piano (Anglo-American Music, 1984). The tet on Hyperion A 66011. Miss King gave the first perfor¬ Concerto is not the best of his clarinet works, but, neverthe¬ mance of this concerto in May 1981 and Boosey and Hawkes less, is a worthwhile one. The piano reduction (Novello, published the piano reduction by the end of that year. Miss 1964) requires some pianistic ability. King's performance is now available on Hyperion A 66031. Thea Musgrave (b. 1928) was commissioned to write a As the composer had written concertos for most other orches¬ clarinet concerto by the Royal Philharmonic Society, and it tral instruments, the appearance of this work fulfilled a long was given its first performance by Gervase de Peyer, to standing hope that he would provide clarinetists with one whom it is dedicated, in 1969. It is a very unusual and large that was "all his own work." The result is a four-movement scale work, requiring a full orchestra in which a piano accor¬ work which does not require excessive virtuosity and which dion plays an important part. It is one of a series of "drama¬ will be a repertory item that is popular with both players and tic concertos" (others are for orchestra, horn, and for viola); audiences. it involves a fusion of traditional and avant-garde techniques In conclusion, it must be emphasized that the opinions ex¬ such as aleatoric passages. Also, the soloist is required to pressed in this article are wholly subjective. The main aim move between four positions in the orchestra. There is a has been to give an overall view of a section of our repertoire gramophone record of the concerto (Argo ZRG 726) with de which is accessible and rewarding to explore. Whilst there is Peyer as soloist — and a very exciting piece it is. A piano re¬ little danger that the 19th-century lack of interest in concer¬ duction might seem an impossibility, but there is one, pub¬ tos will recur, it is regrettable that major national figures lished by Chester and requiring a relatively substantial fi¬ such as Bax, Bliss, Walton and Britten did not contribute to nancial investment. It is a reproduction of the composer's the clarinet concerto. However, a demonstrable interest on very clear manuscript; she has produced a document which the part of players should help to stimulate composers to look is not a mass of notes, but is playable without recourse to to this field. "special effects," though a conservative outlook would be a handicap! The indications of the scoring are excellent, and used in conjunction with the record, provide the adventur¬ ous clarinetist with some fascinating material. The clarinet Recordings part is in four detached sections — one for each position in BRAHMS TWO SONATAS FOR CLARINET £ PIANO: S301 the orchestra and the first page has a plan of the orchestral Mitchell Lurie, clarinet; Leona Lurie, piano. "Solid perfor¬ layout and of the route to be followed by the soloist. mances of some of the most glorious music ever composed. " In 1972, Musica Rara showed considerable enterprise in — Music Journal. publishing a concerto for clarinet and strings by a relatively JAMES CAMPBELL, CLARINET — S331 : Poulenc Sonata, Jeanjean Carnival of Venice, Berg unknown composer Roy Heaton Smith (b. 1928), which had Four Pieces, Vaughan Williams Studies in English Folksong, been broadcast in 1971. It is in three movements, the first Schumann Fantasy Pieces, with John York, piano. and third are rhythmically interesting, the slow middle S333: Weber Seven Variations, Lefevre Sonata #7, Arnold movement is very effective, and the whole is piquant in style. Sonatina, Martinu Sonatina. w/John York, piano, "musical An A clarinet is required. This is a little known piece that is sensitivity & maturity" — The Clarinet (Jack Snavely) well worth investigating. S336: Lutoslawski Five Dance Preludes, Bozza Aria, Gade Four Fantasy Pieces, Pierne Canzonetta, Debussy Petite Piece. Graham Whettam's (b. 1927) Concerto, Op. 40 (Mills Mu¬ Premiere Rapsodie."I can recommend James Campbell's playing sic, 1974/Meridan) is another large scale work with full or¬ without reservation" — Aaron Copland. chestra, though regrettably the piano reduction fails to give MELVIN WARNER, CLARINET: S332. Weber Grand Duo Con- any indication of the scoring — surely a major omission, as certant, Spohr Six German Songs (w/Diane Ragains, soprano) the orchestral color of this work is such an important factor. William O. Smith Five Pieces (for clarinet alone). "One of the This piece is in a traditional idiom, calling for a very compe¬ finest clarinet recordings I have yet to hear.- Audio Magazine MENDELSSOHN Clarinet Sonata; RECER Clarinet Sonata, opus tent soloist. An interesting feature is an integral and relevant 49, nr. 2: S334. John Russo, clarinet; Lydia Walton Ignacio, cadenza in the first movement. piano, "handsome performances, well recorded". San Francisco Paul Harvey (b. 1935), the virtuoso clarinetist who follows Chronicle, "polished performances" — The New Records the 19th-century tradition of composing for his instrument, DAVID HARMAN, CLARINET: S337. Donald Francis Tovey Sonata op. 16, Burgmuller Duo in Efr, Milhaud Duo Concertant, now rare, has written a concerto which he has dedicated to op. 351. "Instinctive musicianship" — New York Times Stanley Drucker. This is a most effective work in three MAX BRUCH Eight Pieces for Clarinet, Viola, 6 Piano: 5643. movements. It is in a traditional idiom and, as would be ex¬ Empire Trio (Ethan Sloane, Alan Iglitzin, Paul Posnak). "Bruch pected, uses the full resources of the instrument. The piano composed beautifully and simply for this odd trio; here they return the favor" — Newsweek reduction, which is a reproduction of the composer's very HALSEY STEVENS Clarinet Concerto; LUKAS FOSS Oboe Con¬ clear manuscript, was published in 1977 by the Belgian firm certo: S851. Mitchell Lurie, clarinet; Bert Gassman, oboe. of J. Maurer (whose catalogue, incidentally, contains a num¬ Crystal Chamber Orchestra, Akira Endo conducting. "Clarinet ber of interesting clarinet works). playing of power, eloquence, & assurance" — Saturday Review The Concertino by Alan Ridout (b. 1934) (Emerson Edi¬ Send $9.98 each plus $1 /order. Free record with each purchase tion, 1978), is one of a series he has written for wind instru¬ of three: for each 4 ordered, pay for only 3 (mention this ad). ments and string orchestra. It is a well composed and inter¬ SEND FOR FREE CATALOG esting short work which is obviously designed for perfor¬ [ CRYSTAL RECORDS, 2235 Willida Ln, Sedro Woolley, WA 98284

The Clarinet — 1 7 The Czech scene

By Bohumir Koukal, Olomouc, Czechoslovakia version of Krommer's Oboe Concerto, Op. 52 in the same li¬ brary (shelf-mark St.Mus. 4-357.106). I suppose that the ar¬ Franz Vincenc Krommer (Kramar) and rangement was done by J. Kiiffner, too. I am not certain if his solo works for clarinet this concerto (Op. 52) has ever been played in the clarinet ver¬ sion, but it is well known as a masterpiece of oboe repertory. I suppose that the name of F. V. The arrangement I have found is excellent using the possibili¬ Krommer is known to all clarinet ties of the clarinet range to its full extent, especially in its lower players. Franz Vincenc Krommer register. (Kramaf;) was born on the 27th of Some years ago Musica Rara published Krommer's Concer¬ December, 1759, in Kamenice near to for Two Clarinets in E-flat Major, Op. 35. We all know that Ti-ebii£ in Moravia as the son of an this double concerto is excellent, but the less-known Concerto innkeeper. He was introduced to for Two Clarinets, Op. 91 does not lag far behind the Opus 35. I music at the age of 14-16 by his un¬ personally prefer the Opus 91 because I have studied it many cle, the composer Anthony Krommer times with my students. In 1985 Musica Rara is planning to (1742-1804) who was a teacher and publish Opus 91 in a modern edition with orchestral material choirmaster at Tufany near Brno. on hire. This composition was recorded byj. Lupta£ik and V. He spent a major part of his life Cve£ka by Bratislava Radio in 1978. Bohumir Koukal abroad, mainly as an emigrant in Vi¬ The six concertinos occupy an interesting place in Krom¬ enna where he came into contact with mer's work but only Opp. 70 and 80 are with clarinet. Con¬ the music of Gluck, Haydn, Mozart and Beethoven. He spent certinos were originally composed for nine instruments as the year 1785 in Vienna, and later went to Szimonthurn in chamber music. When I discovered Concertino, Op. 70 in 1979 Hungary as a concert performer and Count Styrum's court in the Prague National Museum (shelf-mark XI-E-240), I conductor. Towards 1790 he became the choirmaster of the worked it up as chamber music, but I was not satisfied with it. cathedral in Pecs (Funfkirchen), where he remained for about In 1979 I worked up the new score into a form of Sinfonia con- three years. In 1793 he was appointed conductor of regimen¬ certante for flute, clarinet and violin solo with the accompani¬ tal music by Court Karolyi. This new employment did not sa¬ ment of strings and two horns. In this form both concertinos tisfy Krommer's artistic aspirations, and he returned soon af¬ were recorded by the Czechoslovakia Radio with great suc¬ ter Count Karolyi's death to Vienna where he became the cess. Musica Rara is preparing to publish both concertinos leader of Count Grassalkovitch's orchestra. After Count with piano reduction as well as with orchestral material on Grassalkovitch's death the orchestra was dissolved and Krom¬ hire. mer started a new era. Being a composer with an artistically WU^o ^ Movement I mature and well-balanced mind and vast musical knowledge and experience, he was able to make many friends. He found many supporters among the Viennese aristocracy where he ftc f \ 1" [Fyyfr gave lessons in violin playing and probably also in composi¬ tion. In 1807 he applied with no success for the position of vio¬ . Movement II linist in the court orchestra. His request was rejected for eco¬ MCiliano <. nomic reasons because the Imperial court was profiting by the short period of the peace treaty of Pressburg (Bratislava (ft; ^ ^ 1805). The reasons are partly because of the reorganization of the army which was preparing the fourth campaign against Alk^o Movement III Napoleon, and partly for further military expenditures, which altogether meant a heavy financial burden for the treasury. On the 14th ofjune 1815, Krommer was appointed "warden of the anteroom." After Leopold Ko£eluh's death he was ap¬ Concertino in E-flat Major, Op. 80 for clarinet and orchestra pointed court-composer and conductor of the court chamber music. Krommer happened to be the last court-composer, for In 1977, when I was looking for Krommer's Concertino, Op. when he died, this post was cancelled. Krommer accompan¬ 80, I discovered that a quite unknown Krommer Concertino in ied the Emperor Francis I on his travels to Italy and France, E-flat Major for clarinet had been stocked under its shelf-mark. and in both countries he was very much praised. Thus, in This composition had not been marked with an opus number 1818, on the proposal of Anthony Reicha, he was appointed but we know that Krommer numbered only those composi¬ Honorary Member of the Conservatory in Paris and, later on, tions that were designed for publishing. Of course, I am not a Member of the Conservatory in Milan and also of the Phil¬ quite sure about Krommer's authorship. However, I can only harmonic Society in Venice. In 1820 he made his appearance judge it from the way he develops the solo part and the orches¬ as conductor at the Congress in Opava. He died on the 8th of tral instrumentation, both of which show Krommer's typical January, 1831 at the age of 72 in Vienna. features (fl, 2 ob, 2 fg, 2 cor, 2 tr, archi.) Concertino has three We all know Krommer's E-flatMajor Concerto, Op. 36 pub¬ movements which are played without a pause between move¬ lished in Czechoslovakia. One copy is also stocked in the ICS ments. Library (the University of Maryland, number 860) but it is It is possible that some of you have come across this compo¬ not Krommer's only clarinet solo composition. In 1980 I dis¬ sition somewhere in Europe because Krommer was a travel¬ covered Krommer's Clarinet Concerto, Op. 86 in E-minor in ing composer, and his compositions are kept in many places Brno (University Library shelf-mark St.Mus. 4-383.052). throughout Europe. Time may reveal more details about this This concerto was originally composed for flute; however, J. composition, or it may eventually be published. Kiiffner made an arrangement for A-clarinet with Krommer's approval, and this version was published by An¬ About the writer... dre, Offenbach. It has been recently published in a modern Bohumir Koukal is the Solo Clarinetist in the Opera Orches¬ edition by Musica Rara with orchestral material on hire. tra in Olomouc, Czechoslovakia and serves as a part-time You may find it interesting that I also discovered a clarinet teacher at thejana£ek Academy of Music in Brno.

18 — The Clarinet Debussy's works for clarinet — Part II

By Dennis Nygren 7. 8 mm. before [7] (m. 104): the rhythm should read: Premiere Rhapsodic: Textual Discrepancies and Errata The attempt to piece together a "definitive" score of a 8. 2 mm. after [7] (m. 113): add a slur to the final 16th composition by Claude Debussy may present many prob¬ notes (A-flat/C, upbeat of two). lems for the investigator. Frequently, as is the case with the Rhapsodic, there are many sources which must be examined. 9. 6 mm. before [9] (mm. 146-147): the diminuendo wedge should be indicated throughout both measures. In my research, I scrutinized microfilm copies of the clarinet/piano and orchestral autographs,1 plus the Durand 10. 1 and 3 mm. after [10] (mm. 163, 165): add a dot (for an and Leipzig Peters editions of both versions of the piece. I articulated release) under the A-flat (beat three). found many inconsistencies and concluded that, at least with 11. 4 mm. after [10] (m. 166): replace the diminuendo some of his compositions, Debussy was not nearly as meticu¬ wedge with a crescendo wedge (beat one). lous in proofreading and correcting his manuscripts and printed editions as he was in the actual composition process. 12. 1 m. before [12] (m. 196): continue the crescendo wedge In his dissertation titled "The Later Style of Claude De¬ from mm. 194-195 through m. 196. bussy," Raymond Roy Park notes: 13. 6 mm. after [12] (m. 202): a tenuto mark should appear ... in some compositions, there are irregularities in rhyth¬ with the martele accent on E-natural (beats one and mic notation and in phrase markings: some notes lack two), as follows: dots or other signs to indicate accurately their precise value, and some phrasing is not consistent. In addition, v misprints and omissions of accidentals have been noted in some scores.2 Also, an additional beam should be added to the run on On the basis of my research, I believe that neither of the beat three (to make 64th notes). autograph scores nor any of the printed editions (including 14. 8 mm. after [12] (m. 204): add a tenuto mark under the the more recently edited Leipzig Peters versions) are entirely martele accent, as follows:i reliable. I would recommend the following changes in the fa¬ miliar Durand clarinet part. These may be divided into two areas: (A) those which correct obvious oversights or printing r errors, and (B) those corrections which seem logical from a musical viewpoint, in passages where the sources are un¬ 15. 9 mm. after [12] (m. 205): add a dot (for duration) to clear. make a dotted half note.

B. Logical textual corrections in A. Obvious textual corrections in the Durand clarinet part the Durand clarinet part 1. 3 mm. after [1] (m. 13): to be consistent with the same returning note figures in mm. 42 and 154, the entire measure should be slurred. 1. 8 mm. after [1] (m. 18): the slur should extend over the E-flat (to beat two). 2. 3 and 2 mm. before [2] (mm. 18-19): a slur should con¬ nect the E-flat to the B-flat on beat three (as in the 2. 8 mm. after [2] (m. 28): add a dot over the final 8th note Durand piano score). This allows for both a smoother (B, upbeat of four) indicating that it should be legato legato, and a more effective crescendo in m. 18. tongued. 3. 4 mm. after [3] (m. 43): to be consistent with mm. 14 3. 11 mm. after [2] (m. 31): add a dot (for duration) to and 155, the slur should extend through the entire make G-natural a dotted half note tied to a 16th note. measure to the C (as it appears in the clarinet/piano Also, replace the dot over the G-natural with a tenuto autograph). mark, so that it appears as follows: 4. 1 and 2 mm. after [5] (mm. 58-59): according to the or¬ A*. chestral autograph and the Durand full score, the ar¬ ticulation of beat one should read:

4. 4 mm. after [4] (m. 54): add a diminuendo wedge under the last three triplet 16th notes (G-E-B, upbeat of four). 5. 1 m. before [5] (m. 57): the rhythm of beat four should (with the third 16th note lightly released). 5. 14 mm. before [7] (m. 98): using the orchestral manuscript and editions, the shape of the phrase, and the dynamics of m. 102 as guides, the deletion of the (rather than 32nd notes). p in m. 98 is recommended. 6. 4 mm. after [5] (m. 61): add a diminuendo wedge under 6. 11 mm. before and 2 mm. after [7] (mm. 101 and 113): beats two and three. by comparing mm. 170 and 174 to these measures, it may be assumed that Debussy intended C naturals (not

The Clarinet — 19 C flats) as the final 16th notes of these measures. He Certainly a long-standing tradition has been established to probably forgot the accidentals. perform the work with the written D-natural/E-flat notation. The initial performances during the July, 1910 concours at the Two further examples in question are (1) the tempo at [6] Conservatoire were played from the Durand clarinet part.3 (m. 84) and (2) the notation in m. 201 (5 mm. after [12]). Two brilliant clarinetists — Gaston Hamelin and Louis Concerning the first problem, Debussy specified a tempo Cahuzac — who reportedly knew Debussy and played the (moderement anime) at [6]; this marking clearly designates the Rhapsodie with him, played m. 201 with the concert same tempo as [5], 4 =72. The composer's indication for the C-natural/D-flat. (They also changed little, if any, of the rest following scherzando is meme mouvt, 4=4. This rather slow of the score.)4 In addition, all but three of the many record¬ tempo, however, seems totally out of character for the scher¬ ings heard by this investigator are performed similarly. zando section, which most performers choose to play con¬ A strong argument, however, could be made for the writ¬ siderably faster. ten D-sharp/E-natural notation, as it appears in both auto¬ I compared eleven recorded performances (from the early graphs and the Durand orchestral score. Debussy had Dur¬ Hamelin disc to a recent performance by Pieterson/Haitink) and send him a copy of the Rhapsodie (logically, the clarinet/- and discovered that none of the conductors/performers piano edition, rather than the autograph), so that he could followed Debussy's tempo marking in the scherzando. At m. complete the orchestration while vacationing in August, 92, tempos ranged from «l =ca. 96 (Gigliotti/Ormandy) to 1911. Why would the composer change the notation in his d =ca. 120 (Dangain/Martinon, Deplus/Constant). The orchestral autograph from the way it appears in the printed recordings demonstrate three basic approaches to this tempo clarinet/piano edition, if not to correct an error? It also discrepancy: (1) to play [5] at a considerably faster tempo seems unlikely that Debussy made the same mistake in both than marked, thus minimizing the contrast between [5] and autographs. the scherzando (e.g., Brymer/ Prohaska); (2) to use the sec¬ One could also support this notation for purely musical tion at [6] as a tempo bridge somewhere between the tempos reasons. D-sharp/E-natural/G is the inversion of the last of [5] and m. 92 (e.g., Dangain/ Martinon); or (3) to per¬ three notes of the primary motive or cell of the composition form [5] at about the tempo indicated, but to play both [6] (first stated in the piano, mm. 1-2).5 This exact cellular var¬ and m. 92 at about the same tempo as m. 45, Le double plus iant appears in the score many times, most notably in the vite (d =ca. 96-108) (e.g., Gigliotti/Ormandy). I prefer this clarinet in the cedez, m. 123, and enharmonically spelled third approach because the slower tempo at [5] (d = 72) (E-flat/F-flat/G) in m. 203. (See Example 2) allows the subtle dynamic, harmonic, and rhythmic nuances Recordings by Robert Gugholz/Ernest Ansermet, Ger- of mm. 58-65 to be discernible, and, by beginning [6] (m. vase de Peyer/Pierre Boulez and Serge Dangain/Louise de 84) at the faster scherzando tempo, the "hint" of the scher¬ Froment are performed with the D-sharp/E-natural nota¬ zando theme in the piano (or flute) at mm. 86-87 is at the tion. Other clarinetists who have expressed support for this tempo of the scherzando itself. notation include Robert Marcellus (who performed the The final discrepancy in the clarinet part is that of the con¬ Rhapsodie in this manner with the Cleveland Orchestra and troversial notation in m. 201 (5 mm. after [12]). Example 1 Pierre Boulez), Lyle Merriman, Keith Wilson, and David displays this measure as it appears in (1) the clarinet/piano Weber.6 autograph, (2) the Durand clarinet/piano edition, (3) the or¬ I believe that the D-sharp/E-natural notation represents chestral autograph, and (4) the Durand orchestral score. Debussy's intentions, but I am puzzled by the fact that Note that in three of the four examples the first two notes of Hamelin, Cahuzac, and perhaps Mimart (to whom the work the triplet on beat three are notated written D-sharp/E- was dedicated) played m. 201 as it still appears in the Dur¬ natural; only in the earlier Durand print (2), first published and clarinet part. Perhaps further research will uncover in 1910, does the pattern appear as it has been played by either a second clarinet/piano manuscript or a first edition most clarinetists over the last seventy-plus years proof with corrections in Debussy's hand which will alleviate (D-natural/E-flat). Which notation represents the any controversy. The Premiere Rhapsodie must be considered a composer's intention? masterpiece within the clarinet repertoire, with or without

EXAMPLE 1 (i) (2) (3) (4) > > >

iS i# j f > > > —■-j' > > >

EXAMPLE 2 m. 203 au Mouv* £ * Copyright 1910 Durand et Cie Uaed By Permission Of The Publisher Theodore Presser Coopany m Sole Representative U.S.A.

20 — The Clarinet alterations. I am, however in complete agreement with Ed¬ ward Lockspeiser who writes: 7. 7 mm. after [12] (m. 203): the chord should be marked ... the corrections to both his manuscript and printed martele accent/tenuto (—) (as in the orchestral sources). works... this enquiry into the whole matter of Debussy's 7 manuscripts is itself a subject of the first importance. About the writer... The following list contains significant corrections in the Dennis Nygren holds a Master of Music degree from Mi¬ piano part of the Durand edition. There are, in addition, a chigan State University and Bachelor and Doctor of Music number of important corrections to be made in the Durand degrees from Northwestern University. Formerly a soloist orchestral score and parts; these are included within my dis¬ with the NORAD Band and a faculty member at Northern sertation on pages 142 through 144. Michigan University, Dr. Nygren is currently Associate Professor of Clarinet at Kent State University, Kent, Ohio. He is in demand as a soloist, recitalist, and clinician, and is a Corrections in the Durand piano part member of the Kent Wind Quintet. His teachers include Jack Snavely, Glenn Bowen, Jerome Stowell, Elsa Ludewig, 1. 2 mm. after [4] (m. 52): right hand, bottom line, beat Keith Stein, Larry Combs, Clark Brody, and most recently, three: add a natural to D. Robert Marcellus. 2. 4 mm. after [4] (m. 54): left hand, beat one: a sharp should be placed before C (rather than before D). ENDNOTES 1. Located in the Bibliotheque nationale, the clarinet/piano auto¬ 3. 10 and 9 mm. before [6] (mm. 74-75): right hand, beat graph is Ms. 1002, the orchestral autograph Ms. 1003A. three: all sources incidate a D-natural in the top voice. Despite the charm of this harmony as notated, the vast 2. Raymond Roy Park, "The Later Style of Claude Debussy" majority of conductors (e.g., Ansermet, Boulez, Coppo¬ (Ph.D dissertation, University of Michigan, 1967), p. 109. la, Martinon, etc.) have changed it to a D-sharp to agree 3. Letter from Guy Deplus to Dennis Nygren, November 21, with the pitch an octave lower and to function as a 1980. leading-tone of E major. 4. This information according to former students of Hamelin, 4. 4 mm. before [10] (m. 159): right hand: add a double- Harry R. Gee and Georgina Dobree. Letters to Dennis Ny¬ gren of November 17, 1981, March 21, 1982. Information on flat sign to the lowest A. Cahuzac from David Weber (phone conversation, April 27, 5. 2 and 1 mm. before [12] (mm. 195-196): a crescendo 1982) and letter from Guy Deplus, July 15, 1982. wedge should appear throughout both measures (as in 5. For analysis, see pp. 13-20 of author's dissertation. the orchestral sources). 6. Lessons taken by Dennis Nygren from Robert Marcellus, 6. 6 mm. after [12] (m. 202): add connecting ties from m. 1976-1977; Lyle Merriman, "Debussy Premiere Rhapsodic," 201 in left hand. The pianist should note that the 32nd Woodwind World (April 1966), p. 5; letter from Keith Wilson to notes of the clarinet (beat three) should be 64th notes to Dennis Nygren, May 16, 1984; David Weber (phone conver¬ accommodate one beat; Debussy desired a flexible tem¬ sation). po in this run, as he indicated "colla parto del 7. Edward Lockspeiser, Debussy: His Life and Mind (New York: clarinetto" in the cymbal roll of the orchestral score. MacMillan Co., 1965), 2:245.

I vertical pressure I

not horizontal as I other ligatures |

exclusive side shoulders * S • Will not distort or crush reed fibers nor warp mouthpiece as 2 do metal ligatures ™ • Top and bottom straps are spaced wider apart and work ™ independently of each other. (Helps regulate and control £ reed opening). ™ • Sound posts are scientifically designed to give equal pressure ™ and full reed vibration. b • Tighten screws firmly to desired tension, (very important). ™

PLaza 3-7111 4318 MAIN KANSAS CITY, MO. sriiiiiiiiiimiiiiiiiiiiiiiiimiiiMiffrTTnmiiimmmiiiiiiiiiimmiii mi iiiiiiiiiiimmi mini iiiiiiiMiimmi?

The Clarinet — 21 22 — The Clarinet RAYBURN Musical Instrument Co. '5Tiway 263 Huntington Avenue — Boston, MA 02115 W New York, NY 10019 (617) 266-4727 r (212) 265-5758, 265-5765 Next to Symphony Hall Established 1939 Emilio Lyons - Woodwind Specialists "Beat the Competition Sale" LARGEST SELECTION OF NEW & USED Clarinets — Saxes — Flutes — Oboes — Bassoons Buffet Clarinet Specials: Mouthpieces — Rentals — Accessories — Repairs R-1 3 Eb Clarinet, Prestige Model (only 1) $990 R-1 3 Bb Clarinet (with free case cover) $765 BUFFET R-1 3 A Clarinet (with double case) $860 SELMER C-1 2 Bb Clarinet (with case) $459 YAMAHA E-1 1 Bb Clarinet, (excellent student model) $235 ARMSTRONG GEMEINHARDT B-12 (Buffet) Plastic $ 169 DEFORD LURIE NEW CLARINET POLICY; Each clarinet is tested and ap¬ LINTON LEBLANC proved by Leon Russianoff before shipping. FREE BONUS with RICO each new Buffet: 1) Humidifier; 2) 6 pieces reed rush; 3) Instructions by LAVOZ Mr. Russianoff for breaking in the clarinet. OLIVIERI BERG LARSEN BOBBY DUKOFF LEBLANC SPECIALS: OTTO LINK Vito Plastic Resotone $ 180 BEECHLER VANDOREN L300 Model $640 MEYER H. COUF NOBLET SALE: CLAUD LAKEY We Ship World Wide Bb models from $283 — A clarinets from $373 Hundreds of Selmer Yamaha • Buffet in Stock REEDS: VanDoren Bb and Eb (limit: 5 boxes/order) $5.90 MVLTIPHONICS Olivieri Tempered $8.50 and All reed knives are $10.95 OTHER CONTEMPORARY CLARINET TECHNEQUES ENDORSED BY: F. Gerard Errante, Phillip Rehfeldl, William O. Smith, El*a Lod«wig-Verdehr MOUTHPIECES: by GeraUl Farmer $16.95 Combs Bb $27.95 Marcellus Bb (M1 3 and MO.8) $34.50 CLARINET MASTER CLASS Woodwind Bb and Eb $24.95 with Allen Siget Gigliotti (P34,2, 3,4) $34.00 Master Lessons & Etudes Based on Six Solo Works by Vandoren Bb and Eb $27.50 MOZART, WEBER, SPOHR, BRAHMS Hite $50.00 ENDORSED BY: Mitchell Lurie & Leon Russianoff Russianoff $19.95 by Allen Siget $12.00 HARRISON LIGATURES: mo NEW COMPOSITIONS BY SMITH 1 ERRANTE Gold $15.50 JAZZ SET for SOLO CLARINET Silver $13.50 by William 0. Smith $7.50 TUNERS: SOUVENiRS DE NiCE Korg AT 12 $98.50 for UNACC. CLARINETS & PIANO Boxx TU 12 $52.50 (one performer) by F. Gerard Errante $6.50 METRONOMES: Please Include Check with Order and $1.50 for Mailing Expense Franz $20.00 NY State Residents Include 7% Sales Tax Dr. Beat $71.00 Send for FREE Extensive Brochure of More Books Metrina $32.50 & Music and over 60 RECORDINGS of Major Clarinetists on 20 Different Record Labels * * 70% OFF ON ALL MUSIC * * SHALL-u mo PUBLICATIONS P.O. BOX 26824 ROCHESTER, NY 14626 Call or write for our free woodwind or brass catalogue.

The Clarinet — 23 Announcements

Beck to lead Navy band Cmdr. Allen E. Beck became leader of the United States Navy Band at change-of-command ceremonies held at the Washington (D.C.) Navy Yard on November 30, 1984. He relieved Cmdr. Joseph Phillips, who will become di¬ rector of the Navy's entire music program. A native of Defiance, Ohio, Cmdr. Beck twice earned a first chair position in the "All Ohio Boy's Band" while a stu¬ dent at Defiance High School, and performed with the famed Eastman Wind Ensemble while studying at the East¬ man School of Music in Rochester, New York. He also per¬ formed under the batons of Dr. Frederick Fennell and Dr. Howard Hanson. During his 27-year naval career, Cmdr. Beck has served with the Navy Band as clarinetist and assistant leader. Most recently, he was leader of the U.S. Naval Academy Band in Annapolis, Maryland. Cmdr. Beck becomes the seventh leader in the sixty-year history of the Navy's premier musical organization. His first major performance as leader was at the band's Christmas Concert on December 16 at Constitution Hall in Washing¬ ton.

Aaholm announces research project TO: Members of the International Clarinet Society FROM: Philip E. Aaholm, Professor of Clarinet, School of Music, University of Colorado, Boulder, Colorado 80309. Recently, University Microfilms International, located in Ann Arbor, Michigan, announced that they had developed a dissertations database which currently contains over 800,000 dissertations dating back to 1861. Many of you may have re¬ Cmdr. Allen E. Beck ceived a subject (music) catalog from them this past spring. Though there is a topic heading "Winds and Percussion" this catalog is far from complete for our needs as clarinetists. University Microfilms, as you know, is primarily for PhD, As this project grows listings will occasionally appear as a DMA, and EdD dissertations and very few, if any, Master's column in The Clarinet. A project of this magnitude will not be successful if I do theses. I am currently working on a database program which, I not receive information regarding theses and dissertations, hope, will become an information center for clarinetists however. Therefore, I am asking, and will continue to soli¬ world-wide. My purpose in this will be to share with the rea¬ cit, information from those teachers in our profession that will make this "catalog of information" both meaningful dership of The Clarinet and with other correspondents, infor¬ mation concerning theses and dissertations, both completed and helpful. and in progress, dealing solely with the clarinet. There are many ways to set up a database program, but I Newsletter available free am currently going to use the following topics as subject headings: to DeFranco fans • History The Buddy DeFranco Newsletter exists solely for the pur¬ • Repertoire pose of informing Buddy's fans of his performance schedule, • Pedagogy of his record releases, and other information of interest. • Acoustics The Newsletter is published quarterly and is free for the ask¬ • Reeds and Mouthpieces ing. Write: • Instrument Care and Repair Dr. John W. Kuehn • Jazz 646 Grant Street • Other (it leaves room in the program for more Indiana, PA 15701 headings). Included in the entry will be the author's name, degree, degree date, institution, where a copy of the thesis or disser¬ Concours Acanthes winners announced tation may be obtained, title of same, and number of pages. The International Concours Acanthes for the performance of It will be the responsibility of the author to provide an ab¬ contemporary music was held in Paris September 24-29, stract (limited to no more than sixty words) much like that 1984. The category for clarinet and piano was judged by I. found in RILM (International Repertory of Music Litera¬ Xenakis, President, C. Chaynes, G. Deplus, M. Arrignon, ture). A. O. Popa, J. Villa-Rojo, C. Helffer, and M. F. Bucquet.

24 — The Clarinet The first round of competition included twenty contes¬ tants from the U.S.A., Great Britain, Brazil, Switzerland, Japan, Australia, Finland, Italy, Hungary and France. The second round narrowed the field to nine competitors, and the UNIVERSITY OF OKLAHOMA final round included four clarinetists. The winners were: First Prize, Claude Faucomprez CLARINET SYMPOSIUM (France); Second Prize, Heinrich Matzener (Switzerland); and Third Prize, Charles Neidich (U.S.A.). Other prize July 12, 13, 14, 1985 winners included Dominique Vidal (France), Christian Roca (France) and Paulo Sergio Cunha dos Santos (Brazil). Recitals — Lectures Open Master Classes The Walter W. Naumburg Foundation — ARTIST FACULTY — announces a major clarinet competition STANLEY HASTY, Professor of Clarinet at Eastman School of Music The Walter W. Naumburg Foundation, Inc. in coopera¬ tion with the Atlantic Richfield Foundation announces a ma¬ MITCHELL LURIE, noted recording artist and pedagogue PATRICIA KOSTAK HUEBNER, Professor of Clarinet at the Uni¬ jor clarinet competition for December 6-12, 1985. The com¬ versity of Missouri (Kansas City) petition is open to all musicians of every nationality residing CHARLES WEST, Professor of Clarient at University of Arizona in the United States. Competitors may not be under 20 years at Tucson, Arizona of age or more than 33 years of age as of December 1, 1985. DAVID ETHERIDGE, professor of clarinet at Oklahoma Uni¬ First Prize will consist of a cash prize of $5,000, recital book¬ versity, author of Mozart's Clarinet Concerto, and vice presi¬ ings in New York and Washington and a recording contract. dent of the International Clarinet Society Second Prize will be $2,500, and Third Prize $1,000. For more details concerning required repertoire and application — PROGRAM FORMAT — forms contact: RECITALS — Presented by each of the five individuals on the artist faculty The Walter W. Naumburg Foundation, Inc. OPEN MASTER CLASSES — Presented by Stanley Hasty, Mit¬ 144 West 66 Street chell Lurie and Charles West. Participants may choose to per¬ New York, NY 10023 form material of their choice for one or more of these three in¬ dividuals in informal master classes viewed by the remaining Enclose a self-addressed stamped envelope. participants. Those who perform may play solos, etudes or or¬ chestral excerpts. LECTURES — Presented by each of the artist faculty on Alpen Musikfest scheduled for June topics of interest to all clarinetists. One hour University Credit possible with enrollment Join other women musicians in a week of musical sharing in MuEd 5970 at an additional fee. and growth in the Colorado Rocky Mountains. The second annual Alpen Musikfest, scheduled for June 16-23 in Estes — REGISTRATION FEE — Park, Colorado, will feature a 35-40 member Wind Ensem¬ $65. for those registering before July 1 $75. at the beginning of the symposium ble, with chamber ensembles formed from the major group. HOUSING: $20.00 per night single occupancy, $13.50 per night double occupancy. University of Oklahoma Walker Tow¬ Works by women are being sought to be included on the con¬ er Residence Halls. Those wishing to stay in residence halls certs at the culmination of the week. The deadline for appli¬ register and pay at Walker Tower. cations and taped auditions is April 1. For further informa¬ tion contact Jane Frasier, 1221 Downing #3, Denver, CO FOR FURTHER INFORMATION AND ENROLLMENT, CONTACT: Dr. David Etheridge, Symposium Coordinator 80218. Phone (303) 861-4306. School of Music, University of Oklahoina, Norman, OK 73019

Date set for Arizona symposium University of Oklahoma Clarinet Symposium The Arizona Clarinet Symposium will be held on the Uni¬ — REGISTRATION — versity of Arizona campus in Tucson on June 17-19, 1985. Name The event will feature James M. Pyne, and will include per¬ formance master classes with Mr. Pyne and hands-on de¬ Address Phone ^ \ monstrations with mouthpieces and related acoustical influ¬ ences. The sessions will feature solo and chamber recitals by City State Zip symposium faculty. Housing Needs: CH Single Room ($20.00 per night) James Pyne has performed with the Buffalo Philharmonic Orchestra since he was seventeen, and is currently the or¬ □ Double Room ($13.50 per night) chestra's Principal Clarinetist. He is highly sought after as a Number of nights I will arrive teacher: he now teaches at the Cleveland Institute and re¬ cently served as Visiting Professor of Clarinet at the Univer¬ □ I wish to participate in a master class sity of Michigan. Clarinetists interested in attending or performing for mas¬ I will play: ter classes may contact Charles West, Professor of Clarinet, Make checks payable to: School of Music, The University of Arizona, Tucson, AZ School of Music, University of Oklahoma 85721, for information and applications.

The Clarinet — 25 ICS members' activities

Luis Rossi, newly named National Chairman for Chili and Principal Clarinet in the Philharmonic Orches¬ tra of Santiago, has undertaken a project that many clarinet players think about doing, but few attempt — making his own clarinet! Claiming not to be a craftsman, but developing the skills of using a lathe and other tools over many years, he has devel¬ Luis Rossi oped a one-piece instrument made of Dalbergia Retusa wood which he left in its natural color. Some of the design features include: a non-cylindrical large bore (narrower in the middle of the in, body with a flair near the bell); a throat B-flat mechanism similar to the Schmidt design of 1912 and that used on Wur- litzer's Reform Boehm model; a vent for the B/F-sharp/ E-flat mechanism like the Boosey & Hawkes 1010; reposi- tioned trill keys on the upper joint for better tone, intonation and out of the way of condensation; a repositioned E/B key (left hand little finger); and better placement of the C-sharp/ G-sharp. Rossi acknowledges the assistance provided by London's John McCaw, with whom he studied. The Chilian clarinetist reports that he has been playing on the instrument since August of 1984 and that it "sounds very full and alive."

26 — The Clarinet Clarinet talk

The importance of rest By Arthur Henry Christmann "Now you are going to have a nice long vacation, and you fall, it goes as well as ever and sometimes a bit better. can do lots of extra work and practice. You'll have lots of During my mature life, we have made nine all-summer time." How many of you have not heard this or something trips to Europe. One of these was part of a six-month sabbati¬ similar just before a very welcome Christmas or Easter-spring cal in which, like the summers, I played no music on any in¬ vacation. How wrong such teachers are! Vacation should be a strument. I can honestly say that on returning in the fall my time for rest, a time to mend the frazzled nerves, to relax and playing never suffered at all on any of the instruments which I let the mind slowly sort out what has been stored up in many try to keep up. On clarinet, a day or two might have been ne¬ overworked weeks or months. (Of course, one will need to ad¬ cessary to get the reed into condition, but after that I seemed mit that for many who have fallen behind in their daily work, a to play as well or better than ever. vacation must, of necessity, be used to try to catch up.) How¬ After all this, one may ask about the long summer vacations ever, the idea of assigning extra work because the student will which occur during every school year. My answer to that is have more leisure is a glaring error, and shows a complete certainly that each person must make an individual schedule, misunderstanding of just what vacations are for. Personally, I a contract with himself or herself as to just how much practic¬ have never assigned my students extra work over a vacation ing is to be done during the long rest from school. I suggest period. I have always advised them to forget about the clarinet that it be a sizeable amount in order to maintain progress, but at least for a few days out of their vacation and to go rather not enough to be burdonsome. However, I suggest also that easy on practicing for the rest of the time. I regard this period each person consciously choose a period of at least two weeks of rest as very important in the development of a performer. during this long vacation to get away from practice completely (That is, of course, assuming that he or she has worked very and rest the mind, think of other things. hard during the period when he or she was working.) There The Germans have a wonderful word to describe this. The are those who are so lazy that they have nothing from which to word is Erholung. Literally it suggests recovery, rest, relaxa¬ rest, and for such this advice does not apply. tion, recreation, but subtly it has other shades of meaning It has always seemed to me that intensive study is like a such as that expressed by that other German word which is so wounding of the brain. When the brain is sufficiently well known even to non-German-speaking people, Gemutlich- "wounded" it needs time to heal, and, wonder of wonders, keit. Gemutlichkeit implies comfort, leisureliness, freedom from after it has "healed" it is stronger than before in that particu¬ care, time to meditate and, in the words of the Anglican lar area or skill. Vacations provide such periods of healing Prayerbook, "enjoy that peace which the world cannot give.'' and, I believe, are very important in the development of the To be more accurate in the present case, let us say, "that individual's playing. The great early Harvard philosopher- peace which the world seldom gives." psychologist, William James, has written on this subject and Naturally, there are individual differences. Some people has given us a very apt way to think about it. In one of his psy¬ really must stay with their instruments more than others, and chology books he has written, "We learn to skate in summer lose more when they are away from them for a period. It is and swim in winter." said that Paganini could put his violin in the trunk for an en¬ This principle is really very important. One must work tire summer and, first thing in the fall, play just as well as hard, and then have release from work in order to let the full ever. For the great French-American flutist, Georges Barrere, effect of the work mature. The principle holds even for day by this was also true. However, the principle is still the same. day practice. A day in which intensive work alternates with Hard work, set off by significant periods of rest, gives much significant periods of rest gives much better progress than a better returns to anyone than does an unvarying period of day filled entirely by practice. This law is recognized even in in¬ strenuous application. dustry. The factory or office worker is given coffee breaks and tea breaks not so much to enjoy his or her coffee or tea, but to give the mind a rest from a monotonousjob. It is assumed that Classified advertising he or she will return to it with increased accuracy, and, to be All ads submitted for The Clarinet should be: hoped, greater interest. Without such breaks, I am sure that 1. Typewritten, double spaced there would be many more errors in the workplace. It is 2. As concisely worded as possible strange that so many music teachers do not realize this. 3. Non-commercial in nature and limited to the sale and trade of I trust that I will be pardoned for again bringing my person¬ personally owned instruments, music, accessories, etc. al experience into the discussion. I play several instruments 4. Submitted to the Editor by the deadlines given on the ICS offi¬ reasonably well, and when one does this, he cannot always be cers page 2. absolutely just in the amount of time allotted to a particular in¬ 5. Placed by members of the I. C. S. only. strument. There are times when I must let one or the other go Each ad will run only one issue unless the Editor is otherwise in order to concentrate on one in particular. The proverbial advised. wisdom says that those let go will suffer materially from the neglect. I have never found this to be true. On returning to a WANTED... neglected instrument, I have usually found that, perhaps after A copy of the Richard H. Walthew Quintet in E-Jlat for B-flat clarinet and string quartet. The quintet was never published but is in manu¬ a day or two of warmup, it goes better than ever. script. In line with the same argument, I can offer two other specif¬ Also, a copy of the Walthew Trio in C-minor for clarinet, violin and ic fields of testimony. We have a small summer place on an is¬ piano. Published by Boosey and Co., London, 1897. land off the coast of Nova Scotia. There we have no piano. While there, I practice clarinet, violin, and occasionally a lit¬ Any information about these works or copies of them will be greatly tle flute (not for doubling, but to experience the excellent flute appreciated. Please contact: literature). One would imagine that my piano playing would Jerry Pierce suffer greatly after an entire summer of neglect. This has nev¬ 4611 Mounds Road er proved to be the case. On getting back to the piano in the Anderson, Indiana 46013.

The Clarinet — 27 PROGRAM Tennessee Technological University Department of Music Adagio Mrs. Brahmstedt, pia SHENANDOAH CONSERVATORY presents Divertimento No. 4 in Bb Major W. A. Mozart Allegro mm GRACE WILCOX, clarinet MenuettoLarghetto AdagioRondo SHENANDOAH WOODWIND QUINTET Franc-fs Linn Averitt, Flute Stephen Johnston, Clarinet SENIOR RECITAL Ctraig Matovi'h, OboeSharon Sparling DavidTrent, Bassoon Cottrell, Horn assisted by INTERMISSION - Assisted by: Patricia Brahistedt, piano Sue Boyd, Piano Anna Mowell, flute Three Miniatures K. Penderecki Dessa Burnette, cello A1 legro S'jnda/, October 28, 1984 Goodson Chapel/Recital Hall AllegroAndante macantabile non troppo Mrs. Brahmstedt, pia Quintet No.2 in D Minor Rhapsodic Al legrc expressive Giovanni Cambin Mrs. Brahmstedt, pia Larghetto sostenuto Concert Auditorium Q'jintet No.l (1955) Bryan Fine Arts Building There will be a reception following the Allegro

INTERMISSION NEW YORK UNIVERSITY QuintetModerato No.l non troppo Kocsar Miklo AllegroAndinte, vivacacon espress SCHOOL OF EDUCATION, HEALTH, NURSING, AND ARTS PROFESSIONS SextetElegiac for PreludePiano and Winds (1962) Gordon Jacob CortegeScherzo MUSIC AND MUSIC EDUCATION RondoMinuet withand EpilogueTrio * * * ERLAND NORDSTROM * * *

Pre IudAtt^gfio i a Taneczne Motto , . , . Witold Lutoslawski KCZzgAoAndante giocoio Atleg>ioAndante Motto Vier Stucke fur Kfarinette und Klavier, op. 5 ...... Alban Berg CONCERTS Sehn.Sek* \a±chlangtam Lang&am &. RECITALS Sechs deutsche Lieder, op. 103 Louis Spohr INTERMISSION Three Folksongs from the County of Csik Bela Bartok L'iAteA&oftubato tempo

Sonate pour Clarinette avec accompt de Piano, op. 167« • CtC. Saint*Saens rtETRoPoimw mEMoMM- uMHEO METrtOtiis-r cUURCU AtlegioAtegietto animato NEBRASKA AUts NtvJ rtEX\a) AVEMOC Motto Attegio WASWIMGTCIJ. L.6. Pocket-Size Sonata No. 2 Alec Templeton MenuettoMedmato Atteg-ietto WtMDi Allen viation) This recital is given in partial fulfillment of the requirementsin Program 685A for forthe solodegree performers. of Doctor of Philosophy Monday, October 8, 1984 University Theater A C-larinel ^kambe-r k'edi'fflf 8:00 P-1"- 35 West 4th Street Apr,I m. mh 4 00 P.M. pan. Jill Cettinj. soprafl College of Music CdSSiihtfCy Mute. University of Colorado. Boulder j;*v LC£- w; \;^ V/iDlft-6 lUitk lay. October 22, 1984 FACULTY RECITAL StKuheri Tw Uirt au^ dew Qp. 120 (nl7- HW) ■for cJ&viAfil, ai\A piaVo Co(V££rti <10 JilocW- fer Jar,net, Clistc, A«A pa«o

auf dem Felsen, op. 129 (1828) M oiart (Quift-tct, K.- 5?l , (nsu-qi) Capriccio (1979) Charles Eaki: kie^ro oseph Horovit rWdrtocirto Sonatina (1981) "]K£rft£. a ^ v/avi o.ti Sonatfl- Ml?- •> jfchT p»arvO Trio. op. 1U (1891) Grai l OS O AacI <*.r>tLV\0 \IWai-L. «- Ugtjioro

— The Clarinet School THOMAS RIDENOHR, CLARINET ALAN LHRIE, PIANO i0J

Music Sonate. B-tlwi, Op. 107 Unkvrsity of Wisconsin-Madison

INTERMISSION QL£MN mien, Clarinet CAMDLL OH LION, Piano Ih/iec InteAMczzJ., Op. f3 JAntS snnn, Clarinet AllegrettoA1legro agitato scherznado in a FACULTY RECITAL

Conce-tipiccc No. 2, Op. Hi Sunday, November 4, 1984 8:00 p.m. Mills Concert Hall

QRADUAT& R£CITAL SERIES Thursday November 15, 1984 12:30 p.m. THE AT MARYWND Tawes Recital Hall R A H E Y TRIO

> (1978) Byrt MARYLAND CLARINET QUARTET HAXINE RAMEY, clarinet rraan Heim Robert Petrella RICHARD RAMEY, bassoon vid Chadwick Edward Walters ANN NAGELL, piano -PR 0 G R A M - Erazhlung, Opus 56 Norman He Largo - Scherzo - Arabesque - Allegretto, Burlesque - Lento Clarinet Quartet

Trio in E-flat, Opus 20, No. 2 RECITAL HALL Allegro vivace Friday, October 26, 1984 7:30 p.m.

Idaho Male In'iMTMl* Music Ikpartmei Pwatfllo. Idaho North Texas State University ISU FACULTY Department ol Music University of Maryland College Park 20742 (301) 454-2501 School of Music CHAMBER ENSEMBLE Graduate Recital MARK HOLtlNGSWORTH, Clarinet Assisted by: Judy Fisher, Piano October 28, 1984 Goranson Hall DennisDonna Meinecke,Houghton, PianoHorn Monday, October 29, 1984 5:00 p.m. Concert Hall Sonata in F Majo A1leqroLarqhetto Concerto for Clarinet Siciliana in A1legroF Minor moderato Opus 73 Carl Maria von Weber Rondo, allegro Soliloquies for Solo B-flat Clarinet Leslie Bassett Sonata For Flute and Piano Poulenc Fast, aggressive, driving, dramatic AlleqroCantilena malinconico (1899-1963) Fast,Flowing, abrasive, singing contensious Presto qiocoso Slow, lyrical, expressive Three Etudes on Themes of Gershwin Harvey Suite for Clarinet and Piano Halsey Stevens for unaccompanied clarinet A1 legretto II.I. SuirmertimeI Got Rhythm AdagioBucolico, pesante III. It Ain't Necessarily So Moderate con moto Nelson Trio in B-flat Opus 274 forAllegro Clarinet, Horn and Piano Carl Reinecke Sonatine en Trio, Op. 85 A Tale, andante Assezfor flute, anime clarinet and da la chaconne , >42 Ontario stjnontrcal Scherzo,Finale, allegroallegro Assez vif sept. 21 st, 19,S i debussy, joplin Tres lent cahuzac, jean jean Presentedrequirements in partial for thefulfillment degree ofof the ISU FACULTY CHAMBER ENSEMBLE Schumann Doctor of Musical Arts GeorgePatricia Ferencz, George, keyboardflute AlanJane Stanek, Ferencz, clarinet cello The Clarinet — 29 Swiss kaleidoscope

By Bngitte Fnck, Arlesheim, Switzerland Well ladies, we're really in fashion this winter. It looks like the clarinet is an important accessory for that extra special touch to your new outfit. If you don't have an Oehler system like the model in the picture, then I'm sure a Boehm system is just as smart. And if you want to complete the whole effect, the firm of Lancome has brought out a lipstick called rose clarinette. Fascinating, because I can't imagine what the con¬ nection is either between a rose and a clarinet, or a clarinet and the color pink, or lipstick and a clarinet. Maybe Lancome would like to branch out into manufacturing scented reeds? Actually, the lipstick isn't as silly as you may think. It's very creamy and a lovely muted pink, just suitable for covering up lips cracked by playing in the winter. (Sorry, gentlemen, you'll have to stick to the old Nivea!) You wouldn't believe it, but I've found someone who knows all about that Bucchi mouthpiece. "Seek and you shall find." He was one of the many interesting colleagues whom I met at the London Clarinet Congress and his name is:

Michele Vincenzo Viale Tito Livio u. 176 Rome, Italy

So, if you are really interested, write there. Mr. Vincenzo understands English. I can't write this article without a couple of small stories from the London Congress. It is educative and often inspir¬ ing to hear so much music which is otherwise inaccessible, played by a broad spectrum of international artists; however, it is sometimes the personal and human contact which re¬ mains indelibly in one's mind. Three incidents will cause me to chuckle for many years to come. The first was rather em¬ barrassing. As I approached the outer door of the dormitory busily chatting, I saw out of the corner of my eye a poor clar¬ play with, chances are they bring along their music which you inetist trying to struggle out laden with large instrument have difficulty playing, and you confront them with yours, cases. I rushed to hold the door and he gratefully said, which you have furiously practiced in order to make a good "Merci vielmal." In genuine surprise I said, "Hey, where show. It's all good fun, but it might make life easier to obtain did you learn Swiss?" He gave me a funny look. The person a copy of: with me was highly amused, because it had been Elmar Schmid of the Swiss Trio. I had forgotten they were there!! Then our American cousins were treated to the experience of Sight Reading and Technique authoritarian British "dinner ladies," who complained that for Students, Teachers, Performers on Clarinet we weren't eating enough sandwiches at teatime. In order to Norman Baker alleviate this grave situation, I carried out mounds of sticky Moorcroft Publications morsels to the lovely ducks in the grounds of Grove House. 11 Moorcroft Way It reminded me of my first clarinet teacher who used to call a Pinner sloppy attack in articulation a "duck-quack." Neither of Middlesex HA5 1LA these incidents, however, compared to the exquisite delight England of hearing Josef Horak giving his imitation of a Tarzan call (mahrischer Urschrei) out in the quadrangle late at night, proving that diaphragmatic control has many uses and is not only confined to superb bass-clarinet technique. The Swiss contingent will never forget this experience, and would like Last week, I went to a superb concert given by the Swiss to have it repeated on a mountaintop sometime. Clarinet Players, one of the rare clarinet quartets in Switzer¬ land. The scenario was a graveyard chapel, but the program Clariatrics... was far from sombre, ranging from Albinoni to Paul Har¬ I don't have much space for Clariatric news this time due vey. A particularly lively and, in parts, most lyrical work to an over-supply of other information. How about your called Szenen aus Ungarn (Scenes from Hungary) was written spe¬ sight-reading? If you are lucky enough to find some people to cially for the group. The quartet was able to work in close

30 — The Clarinet The title on the Swiss Clarinet Player's publicity brochure states: "Never before in the Swiss Music Scene: a profes¬ sional quartet consisting of only clarinetists." Further quotes: "The contemporary composers A. Moschinger, P. Benary, H. Fries, H.P. Graf, A. Schweizer and F. Farkas have been inspired by this group's concert activity to com¬ pose new works for this genre. The Swiss Clarinet Players are a group of four young musicians all of whom studied clarinet with Professor Kurt Weber at the Bern Conserva¬ tory. They were finalists at the International Competition in Martigny and won first prize in the Swiss Chamber Music Competition. They have made radio broadcasts at home and abroad and concert engagements have included the Interna¬ tional Music Festival in Lucerne in 1980."

To illustrate the flexibility of the quartet, here are three Swiss Clarinet Players extracts from modern works. collaboration with Ferenc Farkas during its composition. It is an exhilarating work musically speaking and appealing to audiences. To know more, contact the group through: Zur Illustration der Vielseitigkeit sollen die drei folgenden AuszUge aus modernen Werken dienen: Andreas Ramseier Sulgenweg 45 Jesus Villa Rojo; Juegos Grafico, Musicales III - Estructuras I CH 3007 Bern para cuatro Instrumentos de Madera Switzerland

r- r.- r.. I A- SWISS CLARINET PLAYERS

Fiir die SCP geschriebene Werke : ^~~CCr)jrp" C. Diethelm Quartett op. 190 W. Vogel Trio A. Moeschinger Tra sforma z i oni iJ.L. Darbellay Glanum M. Flothuis Canzone A. Schweizer Quartett-Aton F. Farkas Szenen aus Ungarn H.P. Graf Quartett Jazz Time A. Harder Suite L. Balmer Suite fiir Oboe und 3 Klarinetten F. Furrer-Miinch Images sans cadre fiir Sopran und 4 Klar. Enrico Renna; "Abwechseln" per clarinetto M. Wendel Quintett fiir Klavier und 4 Klarinetten J. Steiger Ballett P. Benary Kleine Kammermusik H. Fries Serenade F. Tischhauser Morgenstern-Galgenlieder ohne Worte Kompositionen fiir mehr als 4 Klarinetten P. Sciortino Exultrance, Sextett R. Depraz Sextuor R. Leibowitz Petite Suite pour sextuor op. 90 R. Loucheur En Famille, Sextett E. Bozza Lucioles H. Searle Divertimento for Clarinet Ensemble Diverse Bearbeitungen von : Gepshwin, Mozart, Haydn, Bloch, Krenek

The Clarinet — 31 MUSIK - MATURA - ARBEIT 1984 Christian Brbnnimann 3;

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SWISS CLARINET PLAYERS" Eintrittspreise; Fr. 10- Fr. 7 - furin Reinach Mitglteder von Kultur "SZENEN AUS UNGARN" Fr. 5.- fiirLehrlinge AHV/IV-Bezuger, etc. von gratis fur Kinder bis 14 Jahre in FERENC FARKAS Begleitung ihrer Eltern

David Glazer Editions

L. Spohr. Fantasy & Variations, Op 81 For Clarinet and Piano (Also with band accompaniment) SOUTHERN MUSIC CO. G. Rossini: Introduction, Theme & Variations For Clarinet and Piano Also with band accompaniment OXFORD UNIVERSITY PRESS W.A. Mozart: Divertimento K. 439B (K.A. 229) For Oboe, Clarinet and Bassoon Originally for two clarinets and bassoon) OXFORD UNIVERSITY PRESS I. Pleyel: Duets for 2 Clarinets Elementary Level — Books 1 and 2 OXFORD UNIVERSITY PRESS Hand-Woven G.F. Handel: Sonata Op. 1, No. 8 in C minor STRING LIGATURES For Clarinet (Oboe) and Piano ASSOCIATED MUSIC PUBLISHERS Press-Fit (G. Schirmer) Enhance flexibility and warmth of tone. These editions may be ordered and purchased through your local music store or music dealer. INDIVIDUALLY HAND-WOVEN BY: Kyle M. Peterson DAVID GLfiZER 25 Central Park West #18R, New York, NY 10023 (212) 757-1029 313 Summer St., Buffalo, NY 14222 (716) 885-5968

32 — The Clarinet be used for a composition, and Josef Haselbach, a Zurich composer has been commissioned to write a work for them incorporating a ballet. Like the quartet, the Banda Classica intends to work in close cooperation over the production of this piece. This will surely be an interesting addition to the repertoire, and if you want to know more write to:

Heinrich Matzener Freie strasse 40 CH 8032 Zurich Switzerland

He is very keen to exchange ideas and experiences with peo¬ ple outside Switzerland. Contemporary music is his speciali¬ ty, but he is also looking out for works for the trio composed of two clarinets and bass clarinet. Can anyone help? It was interesting to hear Heinrich Matzener's compari¬ sons of competitions abroad with the ones he has entered here in Switzerland, particularly in Lugano. This has only been going for five years and is financed by a cigarette com¬ pany. It is open to residents in Switzerland up to the age of * 4 ^ 35, although one does not have to be a Swiss national. In Heinrich Matzener Paris people are dressed formally to fit the occassion. We agreed that "dressing up" is a form of mental and physical conditioning and commitment to performance. How differ¬ Now let me introduce you to Heinrich Matzener, a ent is Lugano where, although playing is of a high standard, 28-year-old Swiss clarinetist who won second prize in the ex¬ competitors more or less come along with the cow-muck still tremely difficult international "Acanthes" competition in on their shoes and the jeans they have been wearing for Paris. First prize went to Claude Faucomprez and third to months. Why don't you bring your tent along, become a Charles Neidich who played Stockhausen's In Freundschaft. grubby "resident" and join them? Heinrich Matzener had eight pieces to play. Six of them compulsory: Brahms Sonata in F minor, Stravinsky, Berg, Boulez, Messiaen and Jarrell. Free choice was: Berio and Denisow. Quite a marathon as you can imagine. Heinrich's elder brother played the clarinet and when Heinrich was small, he was always trying to play on it or take it away, so his brother had to keep the case locked. Plus ga change. Now Heinrich is the professional virtuoso and his brother no longer plays. At the age of sixteen, Heinrich al¬ ready knew he wanted to be a musician. He studied for his first diploma in Zurich with Hansjurg Leuthold and achieved his soloist diploma under Hans Rudolf Stalder in Basle. At the moment he is occupied with a wind octet, Banda Classica (2 oboes, 2 clarinets, 2 bassoons, 2 horns), and they have won a prize from the city of Zurich. The money has to

International Clarinet Society

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Oberlin College Conservatory of Music

Oberlin Ohio — July 22-26, 1985

The Clarinet — 33 Beethoven's chamber music involving clarinet

By Ricky Duhaime, Austin College The purpose of the present study is to present the known Duo No. 1 in C circumstances surrounding the composition, initial perfor¬ I Allegro commodo; 4/4; C; 113 mm.; sonata mances, and first publication of each of Beethoven's cham¬ II Larghetto sostenuto; 3/4; c; 34 mm.; attacca ber works which include clarinet. These compositions, com¬ III Rondo, Allegretto; 4/4; C; 100 mm.; rondo ing from just before and some ten years after Beethoven's move from Bonn to Vienna, are highlighted by the Septet, Duo No. 2 in F Op. 20. The popularity of this particular work is reflected by the diversity of arrangements it underwent (authorized or I Allegro affettuoso; 4/4; F; 119 mm.; sonata not) as well as the numerous copies in circulation at the time. II Aria, Larghetto; 3/4; d; 22 mm.; attacca No other instrumental piece was to achieve its popular ac¬ III Rondo, Allegretto moderato; 2/4; F; 140 mm. (plus 28 ceptance during the composer's lifetime.1 mm. D.S.) The works are grouped in the following chronological or¬ der by date of composition, to the best information available. Duo No. 3 in B-flat Immediately following the discussion of each work is a brief I Allegro sostenuto; 4/4; B-flat; 133 mm.; sonata structural sketch and a discography of currently available re¬ II Aria con variazioni, Andantino con moto; 2/4; B-flat; cordings. 16 mm. var. 1 — 2/4; B-flat; 16 mm. Title/Key/Opus/Instrumentation Composition Date var. 2 — 2/4; B-flat; 16 mm. var. 3 — 2/4; B-flat; 16 mm. Duos, C, F, B-flat, WoO 27 prior to move to var. 4 — 2/4; B-flat; 16 mm. plus 5 mm. cl., bsn. Vienna in 1792 of transition Octet, E-flat, Op. 103 1792-93 Allegro assai; 6/8; B-flat; 2 ob., 2 cl., 2 bsn., 2 hn. 31 mm.; finale of variations Rondino, E-flat, WoO 25 1792-93 2 ob., 2 cl., 2 bsn., 2 hn. Available Recordings Sextet, E-flat, Op. 71 1796 (-1805?) Complete: 2 cl., 2 bsn., 2 hn. Ricci, Virizlay (vln., vc.) Orion 7295 Quintet, E-flat, Op. 16 1797 (1796?) Lancelot, Hongne Vox SVBX - 580 pf., ob., cl., bsn., hn. Norwegian Chamber Soloists Seraphim 81011 Zukovsky, Breidenthal Avant 1011 Trio, B-flat, Op. 11 1798 (1797?) pf., cl./vln., vc. Nos. 1, 3: Kovacz, Fiilemile Hungaroton 11565 Septet, E-flat, Op. 20 1799-1800 cl., bsn., hn., vln., va., vc., db. No. 3: Trio, E-flat, Op. 38 1803 Consortium Classicum Telefunken 6.42416 AW pf., cl., vc. Tschech. Philh. Prag Barenreiter-Musicaphon Kassel 1230 Duos, C, F, B-flat, WoO 27 Campbell, McKay Golden Crest 4217 clarinet, bassoon While the exact date of composition is unknown, most Octet, E-flat, Op. 103 sources agree that the Duos are early works and, like the 2 oboes, 2 clarinets, 2 bassoons, 2 horns Octet, Op. 103, and Rondino, WoO 25, probably date from the time around Beethoven's move to Vienna in 1792.2 The The Octet, Op. 103, was most likely composed in 1792 for clear, succinct, Classical treatment of form, especially of the the dinner orchestra of Maximilian Franz, youngest son of movements in sonata form, would support this dating. The the Empress Maria Theresa and, from 1784, the last Elector Duos were first published in Paris by Lefort in 1810. in Bonn. Unlike earlier Classical models, however, this is not Structurally, the first two duos are identical. Each con¬ merely Tafelmusik but is music "for a concert" as the tains three movements, the first of which is a sonata form, manuscript, in Beethoven's hand, indicates: "Parthia/dans un Concert, in Es/a/Due Oboe/Due Clarinetti/Due Corni/ the second an aria, and the last a rondo. Their similar struc¬ 3 ture is further demonstrated by the same attacca connection Due Fagotti/Di L. v. Beethoven." between the second and third movements and by the similar In 1796 the Octet appeared in Vienna as one of use of a minor section in each of the rondos. The third duo, Beethoven's first published works, in his own adaptation as similar in content to its two predecessors, is arranged slightly the String Quintet, Op. 4. The original wind version was differently. The first movement is in sonata form, but the found among the composer's effects after his death and first last two movements become one, with the aria section serv¬ published in Vienna in 1830, with neither the manuscript ing as a presentation of a theme which is followed by a set of nor the posthumous first edition bearing an opus number. four variations with a finale. Because of the keys in which the The 103 numbering appeared for the first time in a Breitkopf works are set, clarinet in C was originally designated for the & Hartel catalogue published in 1851. first two duos and clarinet in B-flat for the third. Beethoven is not known to have made any arrangements Octet in E-flat, Op. 103 of the Duos for other instrumental combinations. I Allegro; (p; E-flat; 196 mm.; sonata

34 — The Clarinet II Andante; 6/8; B-flat; 127 mm.; ternary design Beethoven himself said of the work: "The Sextet is one of my III Menuetto; 3/4; E-flat, 80 mm. (menuetto); E-flat, 36 earlier things, and was written, moreover, in a single night mm. (trio) [sic]; one can really say nothing about it but that it is by a IV Finale, Presto; (£; E-flat; 223 mm.; rondo composer who has produced at least a few better works — but to many people works of this kind are the best."6 Available Recordings The original edition was issued by Breitkopf & Hartel in Berlin Philh Deutsche Grammophon 2721 192 IMS 1810, with advertisements in the "Allgemeine Musikalische Netherlands Wind Ensemble Philips 95 000 87 Zeitung" during January and May of that year which read: "Beethoven, Sestetto p. 2 Clar. 2 Cor und 2 Fagotts. Paris Wind Ensemble Nonesuch 71054 7 Schnell, Keller Octet Vox SVBX - 580 Orig./Brietkopf et Hartel/in Leipzig." As with the Octet, Op. 103, the opus number 71 was added later to fill a gap in the numbering. Rondino, E-flat, WoO 25 2 oboes, 2 clarinets, 2 bassoons, 2 horns Sextet in E-flat, Op. 71 I Adagio; 4/4; E-flat; 10 mm.; introduction leading to Originally designated simply as Rondo, this single- Allegro; 3/4; E-flat; 297 mm.; sonata movement work was probably completed 1792-93 for Maxi¬ II Adagio; 2/4; B-flat; 69 mm.; ternary design milian Franz, Elector of Bonn, and may have initially been III Menuetto, Quasi allegretto; 3/4; E-flat, 33 mm. intended as a shorter, technically easier, alternative finale to (menuetto); E-flat, 27 mm. (trio) the previous Octet, Op. 103. As with the Octet, David Whit- IV Rondo, Allegro; (p; E-flat; 138 mm.; rondo well argues that this work is clearly not a mere piece of Tafel- musik, but was intended as serious concert program material, written for the resident wind players at the Elector's palace.4 Available Recordings The work was not offered for publication during Beethoven's Berlin Philh Deutsche Grammophon 2721 129 IMS lifetime, with the first edition issued in 1830 by Diabelli in Tschech. Philh Prag . . Barenreiter-Musicaphon Verlag 1230 Vienna. Boutard, Ensemble Nonesuch 71025 Netherlands Wind Ensemble Philips 9500087 Rondino in E-flat, WoO 25 SW German Radio Orch Vox SVBX - 579 Andante; 2/4; E-flat; 133 mm. (with one 8 m. repeat); rondo Quintet, E-flat, Op. 16 piano, clarinet, bassoon, horn Available Recordings The Quintet, Op. 16, dedicated to Prince Joseph zu Tschech. Philh. Prag Barenreiter-Musicaphon Schwarzenberg, was given its first public performance at a Kassel 1230 concert presented by the violinist Ignaz Schuppanzigh on Wedin/Stockholm Sinfonietta Bis 186 April 6, 1797. The work had probably been completed not Westdt. Blasersolisten Calig Verlag Munchen 30 437 long before. Beethoven himself played the piano at the Westdt. Blasersolisten Sastruphon 008 005 premiere, with the other performers being Triebensee London Wind Soloists Decca 383 (oboe), Bahr (clarinet), Matauschek (bassoon), and Nickl Netherlands Wind Ensemble Philips 9500087 (horn). In the third movement, where now is printed a brief Schnell, Keller Octet Vox SVBX - 580 cadenza for piano, the composer apparently enjoyed im¬ provising extended cadenzas when he performed the work. Mention of such freedom occurs in an anecdote related by Sextet, E-flat, Op. 71 Ferdinand Ries: 2 clarinets, 2 bassoons, 2 horns Sketches for the minuet and trio of the Sextet, Op. 71, are That evening Beethoven played his Piano Quintet with contained in the "Kafka" sketch-book in the British Muse¬ wind instruments; the celebrated oboist Ram [Friedrich um, London, indicating that work had begun on the piece as Ramm] from Munich also played and accompanied Bee¬ early as 1796. Beethoven may not have completed the com¬ thoven in the Quintet. In the last Allegro a pause occurs position until 1805 in Vienna, however. several times before the theme returns; on one of these oc¬ After the Sextet was premiered in a benefit concert in April, casions Beethoven began to improvise, taking the Rondo 1805, a review appeared in the "Allgemeine Musikalische as his theme, pleasing himself and those listening for a Zeitung" which mentions that "particular pleasure was considerable time, but not pleasing the other players. given by the beautiful Beethoven Sextet in E-flat, a composi¬ They were annoyed, and Herr Ram even enraged. It tion which shines with lovely melodies, an unforced har¬ really looked highly comical when these gentlemen, ex¬ monic flow, and an abundance of new and unexpected ideas. pecting the movement to be resumed at any moment, The clarinet part was played by Herr Par [Joseph Bahr], in kept putting their instruments to their mouths, but then the service of the princely family Liechtenstein, with the had to put them down again without playing a note. At greatest perfection. This artist possesses, in addition to ex¬ length Beethoven was satisfied, and started up the Rondo traordinary facility and assurance, an extremely charming again. The whole assembly was delighted.8 and agreeable tone, and he is able, especially in piano pas¬ sages, to make it so melting, tender and touchingly delicate Beethoven later rescored the work for piano, violin, viola, that there will surely be few comparable masters of his in¬ and 'cello, with both the quintet and quartet instrumenta¬ strument."5 In a letter to his publisher, Breitkopf & Hartel, tions appearing on the first edition issued in March, 1801.

The Clarinet — 35 by Mollo in Vienna. The title page read: "Grand Quintet- D. Brain Wind Ensemble BBC 352 to/pour le/Forte-Piano/avec Oboe, Clarinette, Basson et Brendel/Hungarian Quintet Vox SVBX - 579 Cor/ou/Violon Alto, et Violoncelle/compose et dedie/A son Glazer/N.Y. Woodwind Quintet Orion 76224 Altesse Monseigneur le Prince/Regnant de Schwarzenberg Paris Wind Ensemble Nonesuch 71054 &. &./par Louis van Beethoven/Oeuvre 16... chez T. Mollo Tashi RCA ARL 1-2217 et Comp./..."9 However, Beethoven did not authorize the Simon/Woodhams/Silfies/Berry/Pandolfi Turnabout arrangement for string quartet published by Artaria as Op. 37004 75. The original manuscript is now lost. Trio, B-flat, Op. 11 Quintet in E-flat, Op. 16 piano, clarinet or violin, 'cello I Grave; 4/4; E-flat; 21 mm.; introduction leading to The Trio, Op. 11, was written in 1798 and published in Allegro ma non troppo; 3/4; E-flat; 395 mm.; sonata the same year by Mollo & Co., Vienna, with a violin alterna¬ II Andante cantabile; 2/4; B-flat; 112 mm.; rondo tive to clarinet. Whether the violin part was prepared by III Rondo, Allegro ma non troppo; 6/8; E-flat; 255 mm.; Beethoven (as Czerny claimed) or by the publisher is still in rondo doubt.10 The work is dedicated to Countess Maria Wilhelmi- na von Thun und Hohenstein, an acquaintance of Beetho¬ Available Recordings ven's through the Lichnowsky family. Complesso Musica da Camera Rom Duraphon 235 One particular early performance of the Trio soon after its Demus/Berlin Philh Deutsche Grammophon publication is of interest. At a concert in Count Fries' home 2721 129 IMS in 1800 Beethoven first met with rival piano virtuoso and Haebler/Bamberger Blaserquintett Philips .6570881 composer Daniel Steibelt. This initial meeting, and its conse¬ Knardahl/Goteborger Blaserquintett Bis 061 quent eight days later, is vividly described by Ries: Masi/Blaser-Kammermusik-Vereingg, Bonn Aulos 53 553 They [Beethoven and Steibelt] first met one evening at Zehr/Salzburger Klass. Blaserspiel Claves Verlag Count Fries' where Beethoven played for the first time his Thun 0 805 new Trio in B-flat for piano, clarinet, and violoncello. In Ashkenazy/London Wind Soloists Decca 6252 this work the pianist cannot show himself off to any great Nash Ensemble CRD 1067 advantage. Steibelt listened to it with a certain air of con¬ descension, paid a few compliments, and felt himself cer¬ tain of victory. He played a Quintet of his own composi¬ tion, improvised and also made a great effect with his tremulandos which, at that time, constituted a great novel¬ ty. Beethoven could not be induced to play any more. Eight days later there was another such concert at Count Nationa Fries'. Steibelt again played a quintet with much success and in addition (and this was quite evident) had prepared C annet a brilliant improvisation, choosing as a theme the subject Supp iers, Inc. of the variations of Beethoven's Trio. This outraged not only Beethoven's supporters but also the composer him¬ A offers self. He now had to seat himself at the piano in order to improvise. He went in his usual, I must say ungracious, manner to the instrument as if half lunging toward it COUPONS for readers of this grabbing, as he passed, the violoncello part of Steibelt's quintet, placed it (intentionally?) upside-down on the CLIP & MAIL music stand and from the opening notes drummed out a for theme with one finger. Offended and stimulated at the GREAT PRICES same time, he improvised in such a manner that Steibelt left the room before Beethoven had finished. He refused 1240 W. Jarvis Suite 405 ever to meet him again; in fact he made it a condition that Chicago, IL 60626 Beethoven should not be invited anywhere where his com¬ 312-262-2882 pany was requested.11

The theme which Steibelt took for his "brilliant im¬ provisation" was actually a popular tune borrowed by Bee¬ thoven from the two-act comic opera The Cosair by Joseph Olivieri Reeds Weigl. Czerny reports that Beethoven had taken the theme Vandoren Reeds 12 Buy any 3 boxes 3 boxes or more at the request of a clarinet player (Joseph Bahr) for whom get FREE b he wrote the trio. Beethoven is said to have regretted these B temp. $8.95 variations later, describing them as a concession to "lower 1 Vandoren Reedguard 13 + Reg. $19.95 taste. " 1 Vandoren Cork Grease Trio in B-flat, Op. 11 I Allegro con brio; 4/4; B-flat; 254 mm.; sonata

36 — The Clarinet II Adagio; 3/4; E-flat; 64 mm.; ternary design another viola and another cello," though no such arrange¬ III Tema: Pria ch'io I'impegno, Allegretto; 4/4; ment appeared.16 Beethoven subsequently rescored the Septet B-flat; 16 mm. as a piano trio, later published as Op. 38. var. 1 — 4/4; B-flat; piano solo; 16 mm. The contemporary popularity of the work may be judged var. 2 — 4/4; B-flat; cl/vc duet; 24 mm. (with last 8 by the numerous unauthorized arrangements which were mm. repeated) published during Beethoven's lifetime. Such arrangements var. 3 — 4/4; con fuoco; B-flat; 16 mm. included settings for string quintet (arranged by Hoff¬ var. 4 — 4/4; B-flat; 16 mm. meister), two guitars, piano four hands, piano two hands, var. 5 — 4/4; B-flat; 16 mm. piano quartet, and wind ensembles for nine instruments (ar¬ var. 6 — 4/4; B-flat, 16 mm. ranged by Druschezky) and eleven instruments (including var. 7 — 4/4; B-flat; 16 mm. serpent, arranged by Crusell). var. 8 — 4/4; B-flat; 24 mm. (with last 8 mm. repeated) Septet in E-flat, Op. 20 var. 9 — 4/4; B-flat; 16 mm. plus 7 mm. of transition I Adagio; 3/4; E-flat; 18 mm.; introduction, leading to Allegro - 6/8-4/4; G-B-flat; 44 mm.; coda Allegro con brio; (p; E-flat; 270 mm.; sonata II Adagio cantabile; 9/8; A-flat; 115 mm.; sonata Available Recordings III Tempo di Menuetto; 3/4; E-flat, 28 mm. (menuetto); Pieterson/Beaux Arts Trio Philips 9500670 E-flat, 20 mm. (trio Members of New Vienna Octet Decca 528 IV Tema con Variazioni, Andante; 2/4; B-flat; 16 mm.; Nash Ensemble CRD 1045 rounded binary Music Group of London ASV 1005 var. 1 — 2/4; B-flat; strings alone; 32 mm. (written Wilber/Winland/Solyom Artemis 7107 out repeat) Berkes/Perenyi/Koesis Hungaroton 12286 var. 1 — 2/4; B-flat; violin solo passagework; 16 mm. Demus/Vienna Chamber Ensemble Eurodisc 200482 var. 2 — 2/4; B-flat; cl/bsn foreground duet; 16 mm. Glazer/Glazer/Soyer Vox SVBX - 580 var. 3 — 2/4; B-flat; 16 mm. McGinnis/Conable/Platt Coronet 3023 var. 4 — 2/4; B-flat; restatement of principal theme; Tashi RCA ARL 1-2217 16 mm. plus 25 mm. coda Beaux Arts Trio Philips 6747 142 V Scherzo, Allegro molto e vivace; 3/4; E-flat, 80 mm. Consortium Classicum EMI Electrola 065-30 994 (scherzo); E-flat, 48 mm. (trio) Demus/Deinzer/Mandalka EMI Electrola 065-99 839 Hoogland/Honigh/Bylsma Telefunken 6.41252AQ Kempff/Leister/Fournier Deutsche Grammophon 2721 132 IMS Stark/Bell'Arte Trio Intercord Tongesellschaft 185 753 Wiener Kammerensemble .... Ariola-Eurodisc 200 482-366 GREAT MUSIC for

Septet, E-flat, Op. 20 CLARINET clarinet, bassoon, horn, violin, viola, 'cello, bass from Theodore Presser Company & affiliates Sketches for the Septet, Op. 20, appear among those for the recent publications Quartets, Op. 18, of 1799, the most probable date of composi¬ David Ward-Steinman tion. While the theme of the third movement, "Tempo di 3 SONGS (Tritone) 6.00 Menuetto," was borrowed from the second movement of the Eugene Kurtz Piano Sonata, Op. 49, No. 2, contention that the theme for LOGO II (Jobertj 32.50 the variations of the fourth movement was actually taken William Presser from a Rhenish folk song ("Ach Schiffer, lieber Schiffer") ARIOSO 3.00 remains unproven.14 SONATINA (Tritone) 6.00 After its premiere at a private concert at the Palace of clarinet in A Prince Schwarzenberg, the Septet was presented in Vienna on Elliot Carter April 2, 1800, at a benefit concert for Beethoven himself. PASTORAL (Merion) 10.00 The fourth item on the program, the work was listed as "A Ellis B. Kohs Septet for 4 stringed and 3 wind instruments, most humbly SONATA IMercury) ' 3.00 dedicated to Her Majesty the Empress [Maria Theresa] and Shulamit Ran composed by Herr Ludwig van Beethoven, played by FOR AN ACTOR (Presser) 4.00 Claude Ballif Messrs. Schuppanzigh, Schreiber, Schindlecker, Bar 15 SOLFEGIETTO NO. 5 4.00 [Joseph Bahr], Nickel, Matauschek and Dietzel." Beetho¬ SONATE (Transatlantiques) 14.25 ven then offered the work to the publishers Franz Anton Available from your music dealer or direct from Dept. 1CL. Write Hoffmeister and Ambrosius Kuhnel, who had founded the Dept. 1CL for free complete catalog. Prices of imported publica¬ "Bureau de Musique" (later C. F. Peters) in December, tions are subject to change without notice. 1800. Actual first publication did not occur until 1802, how¬ ever. The composer suggested to the publishers that "For THEODORE PRESSER COMPANY more frequent use one could transpose the three wind instru¬ BRYN MAWR, PA. 19010 ments: Bassoon, clarinet, and horn, for another violin,

The Clarinet — 37 VI Andante con moto alia marcia; 2/4; E-flat; 16 mm.; ries a dedication in French on the first page of the piano part introduction, leading to to the physician Professor Johann Adam Schmidt, who treat¬ Presto; (p; E-flat; 211 mm.; sonata; with ed Beethoven's ear complaint. Dr. Schmidt, mentioned in violin cadenza gratitude in Beethoven's Heiligenstadt Testament of Oc¬ tober 6, 1802, was reputedly a skilled amateur violinist and Available Recordings his daughter a competent pianist. Beethoven thus arranged Academy of St. Martin-in-the-Fields Philips 9500 873 his popular piece for family use and, as was customary at the Collegium Aureum EMI Electrola 065-99713Q time, gave Dr. Schmidt the exclusive possession of the music Collegium Musicum Pragense .... Barenreiter-Musicaphon for one year. The arrangement probably dates from 1803, Kassel 4113 with its first publication being in Vienna, 1805. Consortium Classicum Sastruphon 007 016 The arrangement as a trio utilizes most of the original Divertimento Salzburg Claves Verlag Thun 0 809 clarinet part which is modified in only a few details. Much Miinchener Nonett Colosseum Schallplatten 0 101 more substantial differences occur between the original and Munchener Solisten-Ensemble Saphir 120 869 arranged 'cello parts, with the trio version incorporating ele¬ Philh. Oktett Berlin Philips 6527 066 ments of the original bassoon and horn lines. Beethoven's Philh. Oktett Berlin Deutsche Grammophon skill as a pianist is reflected in the artistic manner in which 2721 129 IMS the rest of the ensemble has been reduced and modified for Wiener Philh. Kammerensemble . . Deutsche Grammophon the keyboard. 2530 799 IMS Mention should also be made of an unpublished arrange¬ Bamberg Symph. Chamber Ensemble .... Vox SVBX - 580 ment made by the Verdehr Trio of Michigan State Universi¬ Vienna Octet Decca 200 ty for clarinet, violin, and piano. Boston Symphony Chamber Players Nonesuch 78015 See the analysis under the Septet, Op. 20. Available Recordings Trio, E-flat, Op. 38 Beaux Arts Trio Philips 67250.35 piano, clarinet or violin, 'cello Beaux Arts Trio Philips 65143.15 This arrangement of the Septet, Op. 20, as a trio for piano, Steiner-Berfield Trio Orion 76224 clarinet or violin, and 'cello is by Beethoven himself and car¬ Leister/Ottcher/Besch Archive 2533.118

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38 — The Clarinet About the writer... Ricky Duhaime is currently Assistant Professor of Music is directed to: David Whitwell, "The Incredible Vienna Octet at Austin College in Sherman, Texas, where his teaching School," The Instrumentalist, XXIV, Nos. 3-7 (Oct. 1969 — duties include applied woodwinds, chamber ensembles, and Feb. 1970). Evanston, Illinois: The Instrumentalist Co. music appreciation. Principal clarinetist with the Sherman 4. David Whitwell, A New History of Wind Music (Evanston, Il¬ Symphony since moving to Texas in 1978, Mr. Duhaime is linois: The Instrumentalist Co., 1972), p. 22. also active as a chamber music performer on all the wood¬ 5. Kiithen, p. 74. winds and 'cello. He holds Bachelor of Arts and Bachelor of Science degrees from the University of New Hampshire, a 6. Ibid., p. 76. Master of Music degree from the University of Illinois, and 7. Ibid. is now working toward a Doctor of Musical Arts degree at 8. Ibid. North Texas State University. 9. Ibid. 10. Emil Platen, "The String Trios," Ludwig van Beethoven, ed. ENDNOTES Joseph Schmidt-Gorg and Hans Schmidt (N.Y.: Praeger Publishers, Inc., 1972), p. 130. 1. Hans-Werner Kiithen, "Chamber Music with Wind In¬ struments," Ludwig van Beethoven, ed. Joseph Schmidt-Gorg 11. H. C. Robbins Landon, Beethoven: a Documentary Study (N.Y.: and Hans Schmidt (N.Y.: Praeger Publishers, Inc., 1972), p. Macmillan Co., 1970), pp. 134, 135. 67. 12. Pamela Weston, Clarinet Virtuosi of the Past (London: Robert 2. Mention must also be made that at least one source considers Hale, 1971), p. 40. these works to be spurious. See: Douglas Johnson, "Beetho¬ 13. Ibid. ven" (work-list), The New Grove Dictionary of Music and Musi¬ cians, ed. Stanley Sadie (London: Macmillan Publishers, Ltd., 14. Kiithen, p. 81. 1980), vol. 2, p. 409. 15. Ibid. 3. The author realizes "for a concert" is a rather free interpreta¬ 16. Ibid., p. 82. tion of the original French indication which might be more pro¬ perly translated "in a concert[ed way]." For a discussion of the wind music of the time as true concert material, the reader BIBLIOGRAPHY Blackham, Richard and Jane Poirier, eds. Schwann-1 Record & Tape Guide, June, 1983. N.Y.: ABC Schwann Pub., Inc., 1983. End Reed Problems Braun, G., ed. Bielefelder Katalog Klassik 1-1983. Karlsruhe, Ger¬ many: G. Braun, 1983. Forever!!! Forbes, Elliot, ed. Thayer's Life of Beethoven. Princeton, N.J.: Prince¬ Use ton University Press, 1967. "PerfectaReed" Johnson, Douglas. "Beethoven" (work-list). The New Grove Diction¬ An ingenious device that takes the ary of Music and Musicians. Ed. Stanley Sadie. London: Macmillan guesswork out of reed measuring and Publishers, Ltd., 1980. adjusting . . . assures perfectly playable reeds everytime. Kinsky, Georg and Hans Halm. Das Werk Beethovens: Thematisch- Bibhographisches Verzeichnis seiner sdmtlich vollendeten Kompositionen. Munich: G. Henle Verlag, 1955. Perfect A Reed Kiithen, Hans-Werner. "Chamber Music with Wind Instru¬ A Scientific Method ments." Ludwig van Beethoven. Ed Joseph Schmidt-Gorg and Hans for Reed Adjusting Schmidt. New York: Macmillan Co., 1970. In simple but graphic language that any Landon, Howard Chandler Robbins. Beethoven: a Documentary Study. musician can understand, the author, Ben Armato of the Metropolitan Opera, uses New York: Macmillan Co., 1970. dozens of illustrations to show you and tell Platen, Emil. "The String Trios." Ludwig van Beethoven. Ed. Joseph you how to SELECT and PERFECT a reed. Schmidt-Gorg and Hans Schmidt. New York: Praeger Publishers, "Highly Recommended", Clarinet Magazine Inc., 1972. Scherman, Thomas K. and Louis Biancolli, eds. The Beethoven Com¬ PerfectaReed — Measuring Device panion. Garden City, N.Y.: Doubleday & Co., Inc., 1972. $75.00 Perfect A Reed — Book Walder, Malcolm, ed. Gramophone Classical Catalogue, June, 1983. $5.00 Harrow, Middlesex, G.B.: General Gramophone Publications, Prices include postage and handling (N.Y. residents add sales tax) Ltd., 1983. School and dealer inquiries invited. Weston, Pamela. Clarinet Virtuosi of the Past. London: Robert Hale, Name (please print) 1971. Address Whitwell, David. A New History of Wind Music. Evanston, Illinois: The Instrumentalist Co., 1972. Whitwell, David. "The Incredible Vienna Octet School." The In¬ Mail to: PerfectaReed, Box 594, Ardsley, NY 10502-0594 strumentalist, XXIV, Nos. 3-7 (Oct. 1969 — Feb. 1970). Evanston, Illinois: The Instrumentalist Co.

The Clarinet — 39 Claranalysis

The Boehm clarinet in is pressed. Although each of these two types has been the twenty-first century used in Schmidt Reform instruments, my impression is that Schmidt himself preferred the A-key linkage, as do By Lee Gibson I.1 Now is the time for every important clarinet maker to For the twentieth century the development of the Boehm- choose one of these systems which provide better venting system clarinet has been marked by notable innovations and tone for this B-flat while reducing the mistuning which have been favorably received, then almost forgotten. caused in the clarion register by the register vent, and to After the first world war H. & A. Selmer led in the perfection make it optionally available. of the so-called "full improved Boehm," with twenty-one 2. The Seventh Ring, with Articulated F-sharp/G-sharp keys and seven rings. For opera and theater orchestra play¬ and A-flat/B-flat Mechanisms. Here we are faced by a ers this model, in B-flat, became the standard soprano clari¬ choice between the French system, with its vent through net almost everywhere excepting the Germanic countries. It a longer center joint, and the Schmidt system, which may retains its position in Italy and in Spanish countries. Also be a bit more trouble-free. during the 1930s, Ernst Schmidt of Mannheim developed, with the assistance of Kolbe and the Wurlitzers of West Ger¬ 3. The B/F-sharp/D-sharp Vent Mechanism. Appearing many, the Schmidt Reform Boehm clarinet which has been since the 1930s upon the Schmidt Reform Boehm and acoustically improved in a smaller bore by Herbert Wurlit- since the 1960s upon the Boosey & Hawkes 1010 soprano zer and is now accepted in the Netherlands and elsewhere as clarinets, this device, which was inspired by Oehler's the standard bearer for the Boehm system. adaptation of the oboe's F-resonance mechanism, is des¬ What of the Boehm clarinet of the next century? Perform¬ tined for complete acceptance once it has been intro¬ ers have been quite conservative in their acceptance of inno¬ duced by the leading makers. Buffet, Selmer, and Le¬ vations, with isolated exceptions such as Anton Stadler, blanc: Will you let Yamaha beat you to this, which can Mozart's clarinetist. Xavier Lefebvre was a leading member give a perfect 123 5 pitch in each of the first three regis¬ of the Paris jury which rejected Ivan Mueller's 13-keyed ters? clarinet precisely because it could be played in all keys, de¬ 4. The Auxiliary G/D Vent. This vent (one of the superi¬ priving the listener of the appreciation of clarinets in differ¬ orities of the Selmer bass clarinet) may or may not be in¬ ent keys! Cavallini is said to have preferred simple clarinets dispensable in a smaller-bored Boehm, but for one who long after they had been superseded, and in 1985 most of the has played or owned (as did I) Boosey and Hawkes foremost professional clarinetists who reside outside the Ger¬ 1010s, it is sorely missed upon these large-bored manic sphere continue to use the "Boehm ordinaire" or a Boehms.2 close relative. However, the increasing preference for Wur- litzer's Schmidt Reform Boehm in the Netherlands and the 5. The German-system E-flat/C Little-finger Rollers. British Commonwealth supports a judgment that this system Here one could argue, but why not have them? provides several of the better options for improvements of 6. The Left-hand A-flat/E-flat Key. One believes that this the ordinary Boehm, as follow: key, which has been added frequently by custom crafts¬ 1. The B-flat/Register Vent Mechanisms. First developed men, should clearly be available for all first-line clarinets. for bass clarinets, these appeared in the 1930s upon so¬ There you have it. Such a clarinet is almost already de prano clarinets by Schmidt, Heckel, Leblanc, and oth¬ rigueur in the Netherlands. Let your maker of clarinets know ers. More recently, improvements upon the Romero-sys¬ that you deserve, expect, and will buy such clarinets. tem B-flat have been utilized for the Mazzeo-system Sel¬ mer and the Mclntyre clarinet, and English woodwinds craftsmen have installed increasing numbers of mechan¬ A postscript on ligatures isms which (a) add a second vent for B-flat which is ac¬ 3 tivated by pressing the register key while leaving the Referring to a recent discussion of clarinet ligatures the thumb ring untouched, or (b) exchange the register vent writer offers several addenda. In the case of the Vandoren for a larger, lower B-flat vent when a second-space A key ligature, Vandoren has kindly sent to me a very slightly al¬ tered, newer model which does in fact hold the reed more se¬ curely and is quite satisfactory. A Sounds of Woodwinds string ligature is also a good solution, although it is bulky and extra time is needed for changing reeds. The new Rov- Share ner ligature (in one model only) is available for all clarinets and it is outstandingly convenient. While perusing old issues your of The Clarinet we rediscovered Henry Duckham's priceless "It Don't Mean a Thing if it Don't Have That String."4 society . . . ENDNOTES 1. See Anthony Baines, Woodwind Instruments and their History, New Acquaint your colleagues, York, W. W. Norton & Co., 1957, plate XII. students, and friends with 2. Also taken from the bass clarinet, Schmidt's large bore required a lower, larger A-E vent with its leverage and pad. the benefits of ICS membership! 3. "Claranalysis," The Clarinet, Vol. 11, No. 2 (1983-84). 4. Henry Duckham, "It Don't Mean a Thing if it Don't Have That String," The Clarinet, Vol. 6, No. 2 (1979), p. 30.

40 — The Clarinet Care and repair

By Robert Schmidt, Ithaca College

Subtle large pad key bending adjustments There are some gentle key bending corrections which aid the seating oflarge skin pads in the clarinet's lower joint. A number of assumptions precede these adjustments. A) The pad has been installed and "floated in" with conventional heating and shifting techniques to its most favorable position, (a definite future article) B) The key cup is level with and centered over the tone hole, (a pos¬ sible future article) C) The tone hole edge is smooth and level (future article), and any washed out grains have been sealed (past article). D) The pad is flat and symmetrical, fits well (evenly & snugly) in the key cup, is centered over the tone hole (the right thickness), and is under sufficient spring tension when the key is kept closed, (future aticles) E) The pad has a skin surface nonporous enough to create a reason¬ able vacuum when tested with a plastic tube (i.e. a cork grease tube as illustrated in a previous article). Photo 1 shows the items needed. Your clarinet, a metal swivel- head saxophone screwdriver, a 1" rawhide mallet, a pad leveling tool (also called a pad slick), smooth jawed flat-nosed pliers, a dental probe with its tip ground down, and a piece of cigarette paper cut to an appropriate taper (@ J4 " at the tip). Photo 2 shows the cigarette paper about to be inserted under the pad. The tip of the paper goes to the center of the hole; the key is closed; and the pad's gripping pressure is tested by pulling the paper out. Assuming the pad face is a clock, photos 3, 4, & 5 test for even grip¬ ping pressure at 12, 9, & 6 respectively. Let's give some examples of what can be done to correct minor de¬ ficiencies. WARNING: Extreme caution should be observed when applying the following methods to your clarinet. Discretion is better than damage if you're uncertain of your abilities. The test in photo 6 confirms that gripping pressure is lighter at 9 (o'clock) than at 3, so The flat-nosed pliers grip the key cup arm, and with the key closed, you gently crimp the arm toward 9 o'clock (to the left in photo 7). Photo 8 gives a similar correction to the E-B key. The key is pressed closed, and the pliers are gently bending the key arm to the right. (This will provide more pad gripping pressure at 3 and/or relieve any overcorrection achieved in the photo 7 step.) When a pad grips well everywhere but is slightly light at 12 o'clock, you can put a smooth metal object between the key arm and clarinet body, and carefully bend the key cup down at 12. Photo 9 shows a dental probe under the key arm (this holds the key partially open), while my two thumbs press down on the key cup. Photo 10 is another view of the same correction. Photo 11 shows the same correction with a pad slick holding the key cup open. Be careful that the hard edges of the pad slick don't dig into the tone hole. Photo 12 depicts the use of a screwdriver for leverage at the key arm while my thumbs press on the E-B key cup. Test with cigarette paper to see if the pad seating has improved. While it is desirable to have equal gripping pressure all around the pad's sides, slightly better (stronger) gripping at 12 seems advantageous to the entire pad. If you went too far in the previous correction, or if the gripping pressure is a bit weak at 6, the key cup can be encouraged to return to a more level position (in relationship to the tone hole) with a rawhide mallet. With the key closed, lightly rap on the key cup where the arm meets it at 6 o'clock. I offer three photographs of this correction (13, 14, 15) to point out as clearly as possible the exact point of contact. Only experience can let you know how hard to hit or tap. PHOTO 3

The Clarinet — 41 42 — The Clarinet PHOTO 12 PHOTO 15 G$t It's all to conform, to help our dear strings; to Cyitnirrtcal JBorts To pitch them in & (the poor little things!) They sure hate those flats, but the sharps are sg nice, by So the old clarinets end up paying the price.

Well, give me the money and the horns I'd go buy, Stralcjfvt rims up the Jingers on oboe antt flute, Or, transpose the notes, so in B^ they'll lie; full spun oj the compass in one single toot; Or, better yet, transpose the whole blessed work, Where their Plozart music is fingers on holes, Tlafee the strings shift, make their fingers jethl But wfio notes the tag of the poor chalmeaux's woes7

It just isn't fair to pitch us in Z^", It's not lip and valve, or short [eft hand shift, While the rest play in C, untransposed and all that; It's four fingers down, three fingers that lift; It's just simple physics, and we pay the price! jumping from C# to D#, then B, 1 wish we played oboes, so we'd have it nice. Seems to be altvags in order for me.

While the shape of a cone will give you an eighth, To kick up an octave, 1 can't punch one key, The story's quite different when your bore is straight. Can't tighten my lip, no hand shift for me. No, my fingers must flop and my hands must contort, © SL Enterprises Uhde my jaw damps up tight, the vibrations to sort. (Contact SL Enterprises, P. O. Box 768, Belleville, IL 6222-0768 concerning the availability of copies of this poem suitable for framing. Ed.) Have you ever heard of a D violin? Would a 'cello in fi break you out in a grin?

A bass viol in A, a viola in d? BOB ACKERMAN l^et, Look, at the hardware that they ask- of me: THE MOUTHPIECE DI^ Handcrafted Clarinet Mouthpieces My Blanks or Yours A short one in another in A; Both in a box, to use day to day; • Unbeatable stock prices on mouthpieces (our stock includes all major brands.) With Beethoven, Rossini, or others, you see •40% plus off list price on all brands of reeds. 1 must have another, one smaller, in C. VANDOREN CLARINET REED SALE 5 or more boxes — $6.00 With Rrofe, Saint Saens, or Mahler (what a bore!) 1 box — $6.25 We haul out the bass, fifteen pounds or more. Strengths 3, 4, 5 only And, if Wagner prevailed, if he had his way, • Always a good selection of Selmer Mark VI alto & tenors, plus many used R13 Buffet clarinets I'd haul out another, this one pitched in A. & used Selmer clarinets. • Great prices on Selmer S80 saxophones & new R13 clarinets. Ts it Mozart you want9 Something dofce (that's "sweet")? Please write or phone for a free catalog: Then drag in cor bassett! Oh God, what a treat! 5127 W. Amherst, Dallas, TX 75209 (a^nd, mind you, we've left out the fP and D) (214) 357-6951 A regular lumber truck, that's little ale me.

44 — The Clarinet Record rumbles

By Jim Sauers Cybeha 705, 20th Century French Music, by Aubert Lemeland, In the last issue, Jerry Pierce reviewed an Orfeo recording played by the Aulos Woodwind Quintet of Stuttgart. Music is of Meyerbeer's GliAmoridi Teolinda. He mentions it as a "rare the composer's Musique Nocturne, Idealide, Quintette No. 3 and and all but forgotten work..." Would you believe there is an¬ Canzoni di Asolo. other recording, this time the clarinetist is Dieter Klocker, Nonesuch 79073, Mozart Wind Serenade in E-flat Major, K. with Mariana Nicolesco, soprano, with the Ludwigsburg Fes¬ 375 and Serenade in C minor, K. 388, played by the Los Angeles tival Orchestra? This is an Intersound recording on the Pro- Chamber Orchestra Winds. David Shifrin and Gary Gray are arte label, number PAD 186. clarinetists. Alan Hacker has made two new records. The first is on Say- Supraphon 1110 3174, with music by Jan Neruda and J. disc SAR 17 which includes Mozart's Quintet in A, K. 581, and Stamitz, but no clarinet on these works. It does include the previously unrecorded quintet movements in B-flat, K.516c Clarinet Concerto by Simon Kalous (1715-1786). and in F, K.580b. The second is Hyperion A66120 and in¬ Forlane UM 3518, Weber's Clarinet Concertos No. 1 and No. cludes Edward Cowie's Clarinet Concerto No. 2 and his Concerto 2, with Serge Dangain, clarinet. for Orchestra. New Music Distribution Service, 500 Broadway, New A reissue by CBS Masterworks is MP 38764; this contains York, NY 10012, is offering an unusual record, Clarinet Sum¬ two works by Mozart, his Sinfonia Concertante, K.287b and mit, played by a clarinet quartet, which consists of Alvin Ba¬ Quintet, K.452 for Piano, Oboe, Clarinet, Horn, and Bas¬ tiste, John Carter, Jimmy Hamilton and Avid Murray, with soon. Anthony Gigliotti is clarinetist on both with members of Murray on bass clarinet. This is mostly jazz and blues, with a the Philadelphia Woodwind Quintet. These were previously little contemporary thrown in, and some unusual bass clarinet released on Columbia M3 32135 and MS 6061 about 1959 playing. Write them for their catalog. and 1963. More about recording equipment; this is an item which has From Iceland comes Gramm G 100 with the Clarinet Concerto probably arrived too late, but it might catch on: the Compu- of Askell Masson (1953) with Einar Johannesson, clarinet, sonics DSP-1000 records up to 60 minutes on a 5 inch flop¬ and the Iceland Symphony Orchestra. And from Bremen py disc, the type used on computers. The sound is supposed to House (218-220 85th Street, New York, NY 10028) is Aulos be great. On these discs, the recording and playback are done 53570 with music by Giinter Raphael (1903-1960). This in¬ by a disc drive with magnetic heads. These should be available cludes his Trio for Clarinet, Cello and Piano, Op. 70, his Sonatine, in early 1985. As I said, it is difficult to predict the potential Op. 65 No. 3 and his Piano Sonata, No. 2. The clarinetist is and commercial success of such a system, but I mention this as Franz Klein. an example of the technical progress of recording. I wish to mention a Nonesuch release I have enjoyed; it is Finally, I am becoming reluctant to mention sources of rec¬ their 78026, Music for Winds, Volume II with the London Wind ords in this column. Some of my past sources that seemed so Orchestra. I would be inclined to call a group with this instru¬ reliable are giving me headaches, so if any readers want sourc¬ mentation a symphonic band, but it does include some of Bri¬ es of specific records, drop me a line. I'll try to help. tain's best players, with single reed players such as Colin Bradbury, Colin Courtney, Keith Puddy, Roger Fallows, Victor Slaymark, Paul Harvey, Ted Planas, Stephen Trier, Hale Hambleton, Anton Weinberg and several others. On one side are four works by Percy Grainger, including his Lin¬ colnshire Posy; on the other are Darius Milhaud's SuiteFrangaise and the Suite Frangaise by Francis Poulenc. A German recording of a different nature is Landgrdfliche Marschmusik, which I am told roughly translates "Landown¬ er's music." These are mostly short marches written by Landgraf Ludwig IX von Hessen-Darmstadt and others. It is played by the Unisono-Blaserensemble, with Hans Pfeifer, Sabine Pfeifer and Renate Rusche, clarinets. Other instru¬ ments include percussion (1), two trumpets, horn, bassoon, oboe and piccolo/flute. The record number is Unisono UNS THE COMPLETE CLARINET BAG 22873. An even more intriguing recording is Music for Winds by Carl Maria von Weber on the CBS French label (39011). * Holds clarinet, music and accessories On one side are Six Waltzes and on the other a March and the * Made of 11-oz. cordura nylon fabric Concertino for Oboe and Winds. Clarinets are Alain Damiens, * Instrument pockets lined with polyester Jacques di Donato, Hervet Ghislain and Eric Lamberger. sheepskin Other instruments are flute/piccolo, oboe, two bassoons, two * Heavy-duty nylon straps horns, trombone and double bass. * Available in black, rust, tan, and gray Some other recent releases, noted without comment, are: s s Signum SIG 008-00, French Music for Clarinet and Piano, with * 49.00 as pictured (plus 2.95 handling) Walter Boeykens, clarinet. This includes music by Saint- Saens, Gaubert, Chausson, Pierne, Rabaud and Messager. Gallo 30-391, Quatuor de Clarinettes de Geneve, with works by Send check or money order to Alfred Uhl, Feliu Gasull, Denise Roger andjean Absil. Clari¬ netists are Jean-Michel Bertelli, Gerard Scholtz, Marie- OLATHE BAND INSTRUMENT Chantal Schlotz and Sergio Menozzi. 231 S. Kansas Olathe, KS 66061 Jecklin-Disco 587, Music of Conradin Kreutzer, with Hans or call Rudolf Stalder and Elmar Schmid, clarinets. Music includes Kreutzer's Trio for Piano, Clarinet and Bassoon, Das M uhlradfor (913) 764-4159 Soprano, Clarinet and Piano, and Trio for Two Clarinets and Viola.

The Clarinet — 45 Record reviews

By Alan E. Stanek, Idaho State University Clarinettologia — Gaspare Tirincanti Quartet. Gaspare Tirincan- Buddy DeFranco. Buddy DeFranco, John Denman, clarinets. ti, clarinet and bass clarinet, Saverio Gallucci, piano, Onori- LUD Records, LUD 101, LUDCO, P. O. Box 44056, Tuc¬ no Tiburzi, string bass, Elio Tiburzi, drums. Real Sound- son, AZ 85733. $10.98 (includes shipping). CBR 1110 stereo. Few of Buddy's fans are aware of this recording from the Gaspare Tirincanti, Professor of Clarinet at the Istituto summer of 1983, but it is a clarinetist's tour deforce, one of a Musicale Pareggiato A. Peri at Reggio Emilia, has assem¬ kind, and an absolute must for anyone with an interest in bled a fine jazz quartet, and this recording is a delightful jazz. The differences in the playing styles of the two men are change of pace for this reviewer's daily listening sessions. readily identifiable as John's vibrato is faster than Buddy's, Gaspare, born 1951, received a diploma from the G. Rossini and Buddy's overall approach to the clarinet is more loose Conservatorio in Pesaro for clarinet in 1969 and for percus¬ and relaxed. It is possible on first hearing, however, to occa¬ sion instruments in 1970. According to the biography en¬ sionally confuse the playing of the two in fast passages, a closed with his edition of Stark's Arpeggio Studies, Op. 39, great credit to John's jazz ability. published by Ricordi, he has also established a lively career Buddy's influence on John's playing is very obvious as a soloist, chamber musician, and opera orchestra clarinet¬ throughout the album, beginning with John's first solo run ist at the Teatro Alia Scala in Milan. up to C4, a near copy of a solo Buddy recorded in 1949 in a Eight selections grace two sides of this well-pressed album. tune called Extrovert. Buddy's influence on jazz overall has The balance and fidelity are excellent with a good bit of re¬ been more subtle, but in the past thirty-five years no indivi¬ verberation. Side one features Tirincanti in renditions of dual has done more than Buddy DeFranco to breathe life After You've Gone (Creamer-Clayton-Turner), Op. 10, by back into the clarinet as an accepted jazz vehicle. Buddy DeFranco, Cole Porter's Love For Sale, and Tirincan- The technical quality of the record is excellent, and in little ti's own Clarinettologia, a short improvisatory work reminis¬ time it will surely become a great collector's item, as are cent of Artie Shaw with some be-bop licks a la early Buddy many of Buddy's other records. DeFranco. In a brief section near the end of the work, Tirin¬ The tunes include Whirligig (Dave Plank), Close Enough for canti explores some contemporary techniques including an Love (Johnny Mandel), The Lovely Years (Keith Greko), Don't eerie set of tremolos in the chalumeau register, multiphonics, Get Around Much Anymore (Duke Ellington), Unauthorized vocalizations while playing, and ends with a flurry of typical Touching (Bach/Denman), Lover Man (Jimmy Davis), Capric- Goodman doodles on a top C. Very impressive! cio (Paganini/Rachmaniov/Hughes), But Not for Me (George Side two features Tirincanti on bass clarinet in Brother Gershwin), and Mar Descanqado (Eddie Higgins). Jones by Hidehiko Matsumoto with no less bravado. Rides by each of the quartet members are well done. Next, Carlo Jobim's Wave is followed by Coltrane's Some Other Blues and By Keith M. Lemmons, The University of New Mexico Chick Corea's La Fiesta. Elio Tiburzi lays down a steady, The Amsterdam Nonet. Franz Berwald, Septet in B-flat Major; well-defined beat for improvisations by Onorino Tiburzi on Sergei Prokofiev, Overture on Hebrew Themes, Op. 34; Leo& bass and Saverio Gallucci on piano. Clarinetists and jazz afi¬ Janatek, Concertino. Recorded 1982. Nonesuch Records, No. cionados will enjoy this recording. 7559-71412-1. The distributor of the record for the U.S.A. is: Discoland, Via Emilia S. Stefano I2/D — Reggio Emilia 42100 — Ital¬ The Amsterdam Nonet is a famous ensemble of chamber ia. Mr. Tirincanti's address is via Settembrini, 5, 47036, music players formed in 1970 consisting of members of the Riccione, Italy. leading Dutch symphony orchestras as well as other musi¬ cians who specialize in chamber music. They perform a wide range of repertoire from all periods and a wide variety of By John W. Kuehn, Indiana University of Pennsylvania combinations. The clarinetist on this recording is Harry Bijl- holt. Chicago Symphony Winds. Mozart: Serenade No. 11 in E-flat Franz Berwald (1796-1868) was a Swedish composer who Major for Wind Octet, K. 375; Grieg: Four Lyric Pieces, trans- was not readily accepted in his lifetime. I find Berwald's cribed for Wind Octet. Larry Combs, John Bruce Yeh, clari¬ "Grand" Septet in B-flat quite unmistakable, beautiful, and nets. Sheffield Lab LAB 22. enjoyable. It is a three-movement work which is performed The Mozart Serenade, one of the earliest masterpieces for on this disc with great understanding, enthusiasm, and affec¬ wind ensemble, is handled by these eight players with as tion. Within each movement are bold shifts within the tonal much precision and finesse as could possibly be desired. All centers. This particular performance is exciting because the standards of intonation, balance, articulation, and dynamics finesse of the technical passages and the inspiring blend and are attended to in minute detail. The Four Lyric Pieces, ar¬ balance are outstanding. The polished discipline that the ranged by bassoonist Williard Elliot, are short piano works Amsterdam Nonet enjoys is apparent in their stylistic con¬ taken from a ten-volume collection written between 1867 cept of this Septet. The performance is commendable and and 1901 containing 66 numbers. These are superb pieces of brings to light a work that deserves to be performed. craftsmanship: the performance is equally tasteful. Side two begins with the ever-delightful Prokofiev Overture This Sheffield Lab release is the debut recording of the on Hebrew Themes, Op. 34. This successful recording joins the Chicago Symphony Winds, a group organized in 1978 by ranks of the many others available for this particular work. It oboist Ray Still. Judging from the unusually high quality of is interesting to note that Prokofiev made his own orchestral the playing on this album it is hoped that this group will see version of this in 1934; in my opinion the original version is the issuing of many more records in the future. much to be preferred. The deployment and handling of the musical ideas by the Amsterdam Nonet is excellent and re¬ Buddy DeFranco Presents John Denman (and) John Denman Presents news a love for this most entertaining work.

46 — The Clarinet The Jana£ek Concertino asserts itself as a truly worthwhile Three Poems of William Blake; F. Chopin, Etude, Op. 25, No. and mature composition. Written after Jana£ek's 70th birth¬ 7; Boris Pillin, Scherzo Barbara. WIMR-10. Julian Spear, day, it includes folksong material, warm and lyrical. The alto, bass, and contrabass clarinets; Sharon Davis, piano; Amsterdam Nonet gives a performance of solidity, rhythmic Delcina Stevenson, soprano; and Mitchel Peters, percus¬ and imagination. The coloristic contrasts and dissonances sion. Available from Crystal Records. that Jana£ek intended are performed with understanding The record jacket indicates that this is the first recording and sensitivity. The second movement is a duet between to feature solo repertoire for the alto, bass and contrabass E-flat clarinet and piano; the final two movements are for clarinets. full ensemble. The Amsterdam Nonet gives a performance The original compositions are atonal and, with the excep¬ which is brilliant and strikingly colorful. tion of the Frank Campo Dualidad and a flutter tongue in the The disc offers three works of engaging interest for any Davis Three Poems, without sound effects. Also there are two clarinetist and makes it particularly valuable. The perfor¬ mances are extraordinary and impressive. The sound is full transcriptions by pianist Sharon Davis. While the Bach seems too cumbersome for the alto clarinet (when one re¬ and immediate, the surface is clean cut and quiet. Highly re¬ flects on the sound of the original viola da gamba), the Cho¬ commended. pin is an expressive and successful arrangement for bass clar¬ inet. By Linda Pierce Julian Spear's forte seems to be the bass clarinet and does Recital for Clarinet and Piano. Schumann, Fantasiestucke, best when teamed with John Rarig. The rich array of color¬ Op. 73; Carl Reinecke, Sonata "Undine, "Op. 167, Lefevre, ful effects available on the bass clarinet is exemplified in the Sonata, Op. 12, No. 2; Egon Wellesz, Zwei Stiicke, Op. 34; Campo piece with bends, multiphonics, etc., subtly blended John Mayer, Dance Suite. Georgina Dobree, clarinetist, and with various percussion instruments such as wood block, Susan Bradshaw, pianist. Chantry Records, CHT 008. cymbal, and drum. Available from Chimes Music Shop, Dept. C, 65 Maryle- The alto, bass and contrabass are all featured in the Davis bone High Street, London WIM3AH. Three Poems, and the contrabass in the William Schmidt piece. Although they have their fleeting moments of show¬ This recording represents a quick historical tour through manship, it may be up to the other compositions to glamor¬ the various styles of clarinet writing. Included for the ize these instruments. Mention is made in the brief program baroque/classical period is the Lefevre Sonata, Op. 12, No. 2. notes that the music performed on this recording is available This is one of twelve sonatas included at the end of Lefevre's through Western International Music, Inc., 2859 Holt Ave., Method written for the Paris Conservatory, published in 1802. The romantic style is typified by the Schumann and Reinecke pieces. Although the Fantasiestucke is well known, the jacket notes point out that because of the overlying alter¬ ations on the original score (located in the Bibliotheque Na- tionale in Paris) there is still speculation as to what the final Leon Lester Editions version should be. The Sonata "Undine" is reminiscent of Brahms and, in fact, Reinecke's Introduction and Allegro Appas¬ GRADED TEACHING MATERIALS sionato, Op. 256 was dedicated to Richard Miihlfeld. Pro¬ FOR CLARINET gressing on to serialism, Wellesz has a less rigid style than Schonberg (his teacher), but nevertheless falls audibly into Elementary to Medium Advanced the category. Jacket notes indicate a misprint for the tempo of the second movement which should be to the quarter note THE JUNIOR CLARINETIST rather than the eighth note. Mayer's Dance Suite (written 30 Easy Studies Grade 1-11/2 twenty-five years after his Raga Music) emphasizes the trend BELWIN/MILLS CORP. to explore the Indian pitch and rhythmic organization. The writing is straight forward with no elaborate extensions of THE PROGRESSING CLARINETIST the instrument. Miss Dobree certainly must be among the most diversified 30 Medium Easy Studies Grade 2-2V* and industrious clarinetists. She realized the bass for the CARL FISCHER, INC. Lefevre Sonata, commissioned and premiered the Mayer, consulted the original source for the Schumann, wrote ela¬ THE ADVANCING CLARINETIST borate, pertinent jacket notes, gave lively renditions of each 33 Studies, Medium, Grade 3-3'A style, and recorded on her own label, Chantry Records. This CARL FISCHER, INC. is the eighth recording appearing with the Chantry label. Currently a professor at the Royal Academy of Music, Miss THE DEVELOPING CLARINETIST Dobree has commissioned other composers and has received honors in performance of contemporary music. Oxford Uni¬ 31 Studies, Medium Advanced Grade 4-4V2 versity Press is publishing the Lefevre, and her editions are BELWIN/MILLS CORP. listed in the catalogues of Schott, Oxford University Press and Musica Rara. Leon Lester Editions Music for Low Clarinets. J. S. Bach, Allegro from Viola da Gamba Sonata No. 1; John Rarig, Introduction and March; William Available at your local music dealer Schmidt, Sonatina; Frank Campo, Dualidad; Sharon Davis,

The Clarinet — 47 Los Angeles, CA 90034. sitions of the Baermanns possess much greater technical and The unusual instrumentation would make this an interest¬ musical value than was originally thought. Faucomprez' ing addition to any clarinet library. stylistic interpretation is quite good and the articulation is simply superb. Only a few minor problems of intonation mar this otherwise first-rate recording. By William E. Grim, St. Andrews Presbyterian College Clarinette et Piano. Heinrich Baermann (1784-1847), Adagio en Kjell Fageus, clarinet and Stefan Bojsten, piano. Francis Poulenc, Mi bemolMajeur and Karl Baermann (1811-1885), 7 Etudes ro- Sonata; Claude Debussy, Premiere Rhapsodic; Lille Bror Soder- mantiques. Op. 64. Claude Faucomprez, clarinet, and Alain lundh (1912-1957), Liten svit; and Csaba Deak, Sonatina for Raes, piano. Zephyr Z21 stereo. Solo Clarinet and Carnival of Venice (variations for clarinet and piano). Fermat FLPS 52. This is an excellent album of clarinet compositions from Kjell Fageus is the American-trained first clarinetist of the the romantic era which were designed to display fully the Royal Opera Orchestra of Stockholm. His performances of prowess ol the virtuoso performer. The Heinrich Baermann the Poulenc Sonata and the Debussy Rhapsodic are technically Adagio was falsely attributed to Richard Wagner for many correct but also rather perfunctory and unidiomatic. The years and the Karl Baermann Etudes have long been in print Poulenc especially lacks the ease and savoir-faire so necessary as part of the Baermann IV method book. Few clarinetists, for a successful performance. Much more engaging are the however, have deemed these works to be worthy of record¬ recordings of the Soderlundh Liten svit and Deak's Sonatina ing. The performances on this album prove that the compo¬ and Carnival of Venice Variations. The Liten svit is an excellent work in the post-romantic mold while the Deak Sonatina is an unaccompanied composition which displays a stylistic affini¬ ty with the wind compositions of Carl Nielsen. Both of these works are deserving of wider performance. Although this al¬ dMoxtfi c/fmezicun bum is attractively produced, it suffers from a dearth of pro¬ gram notes, especially concerning the two lesser known com¬

48 — The Clarinet Chase, Viola; Christopher van Kampen, Cello; Judith Pearce, Flute; and Ian Brown, Piano. MHS Stereo 4936A. Musical Heritage Society, 1710 Highway 35, Ocean, NJ OBERLIN 07712. Price, $5.45 members, $8.50 non-members. It's important for a clarinetist to have the space to I must admit that I was a bit hesitant to undertake a re¬ grow. The Oberlin Conservatory offers its students view of yet another recording of the Weber Quintet. The mu¬ the most enriching kind of space. sic is one of the great showpieces for clarinet, and there are Musical Space. Musical groups and performing many versions to choose from. Dangain, Geuser, Klocker, opportunities abound from early music to jazz Stahr, and Wright all come readily to mind. Ah, but from ensembles, woodwind quintets to wind ensembles, the opening bars I liked this version. The string quartet chamber orchestras to full orchestras and student knows the work and they play as a rehearsed ensemble. More touring ensembles. There s room to grow in 182 practice rooms, the extensive music library and the than a few performances of the Weber by some of the world's finely-equipped electronic music studios. great players have faltered because the performer was sad¬ Academic Space. The Conservatory shares a dled with a mundane quartet. This is not the case here, and spacious campus with Oberlin College where Anthony Pay's playing deserves this support. His tone is students can take advantage of a full offering of dark, big, and without the "English" vibrato. His tech¬ liberal arts courses. A five-year double degree nique, intonation, and interpretation are sure, and his fast program provides both the Bachelor of Arts and tempos are in the "death defying" class. All of this is helped the Bachelor of Music degrees. by sympathetic recording techniques. Above all, though, the Personal Space: Campus life is rich and attractiveness of this disc is the precision of the ensemble. varied, covering a wide range of extra- Side two of the recording is the Weber Trio in G minor for curricula, housing and dining options. Flute, Cello, and Piano. This lesser known work is also Lawrence played in convincing style and makes a good coupling of two McDonald Weber works. (It also provides food for thought as to how a Professor of Clarinet clarinet arrangement of the flute part might sound.) Student of Robert Mar- cellus, Clark Brody, Jerome Stowell. Solo & chamber music per¬ By Lyle Barkhymer, Otterbein College formances at the Library of Congress, Brahms, Clarinet Quintet in B minor, Op. 115, and Clarinet Trio Smithsonian Institu¬ in A minor, Hyperion A66107, distributed by Harmonia tion, Alice Tully Mall Mundi USA, 2351 Westwood Blvd., Los Angeles, CA and Aston Magna. 90064. Member, Oberlin Wood¬ wind Quintet. Principal This gorgeous recording of both Brahms' Quintet and Trio clarinet, Toledo Sym¬ by the eminent English artist, Thea King, sings its way into phony Orchestra and the listener's heart. It is also a more than usually generous Peninsula Festival Or¬ offering of music on one disc. What makes this particular chestra. Recordings for Brahms so enjoyable? Gasparo, Orion and Right from the first "allegro" of the Quintet Miss King Advance. plays with a delicate feeling and idiomatic rubato which can "A wonderful musician only be characterized by the subjective word "musical." and master of his in¬ strument" Richard Her companions in the quintet, the Gabrieli Quartet, match Dyer, Boston Globe. her well and join to form a unified approach. It goes without saying that all the technical elements of the score are in their rightful place, but this rendition goes beyond mere technical accuracy. As good as the Quintet is, the Trio is even better! The clear, rich tone which one associates with Miss King finds its part¬ ner in the playing of cellist Karina Georgian whose resonant and burnished sound is perfectly suited to Brahms' style and atmosphere. This performance is so effortless, so natural, and so satisfying. The phrasing breathes, the dynamics help the musical expression, and everything else falls into place. If there were to be a few small improvements in the re¬ cording, one might hope for a less "grainy" pickup of the For more information about the Conservatory and strings on the Quintet on side 1. Also, the cello seems a little regional auditions write: under volume by comparison to the clarinet on side 2. In the intense middle section of the Quintet's "adagio," the clarinet Michael Manderen, Room 302, Oberlin College tone tends to spread during the forte running passages. The Conservatory of Music, Oberlin, Ohio 44074 jacket notes give an interesting and helpful discussion of the (217) 775-8413 Please send Pictoral Catalogue. Ino but neglect the Quintet for some reason. name Still, these are minor quibbles in the larger context of a Street brilliant effort. Miss King's recording is highly recommend¬ City State Zip ed.

The Clarinet — 49 Book reviews

By John R. Snyder

Charles G. Huebner and Gene E. Beckwith. The Comprehen¬ still contains much useful and even esoteric advice. After sive Guide to The Repair of Musical Instruments, Volume One. The Brand, this book and the present one under review would be Clarinet & Flute. HB Musical Enterprises, Ltd., P.O. Box complementary and equal in value, although in different 328, Red Wing, MN 55066, 1983, viii plus 331 pp., $25, or ways. $30 foreign (includes postage & shipping). This book is divided into a section on clarinet (pp. 1-198) (John R. Snyder studied clarinet with Wm. Scarlett at the University and one on flute (pp. 199-279). In this review I shall mainly of Tennessee and John Mohler at the University of Michigan. He deal with the section on clarinet. Essentially the book is a de¬ studied repairing with Frank L. Kaspar in Ann Arbor, Michigan and tailed description of standard shop techniques as used by is presently active in the Knoxville, Tennessee area. Ed.) professional repairpersons on a commercial basis. It does not cover the painstaking techniques and "secrets" of such arti¬ By Dan Leeson sans as Frank L. Kaspar, Hans Moennig, or Edward Planas of England. For instance, there is no mention of handmade pads, undercutting of tone holes, or of more recent discover¬ David E. Etheridge, Mozart's Clarinet Concerto, The Clarinetist's ies such as nylon or teflon plugs and bushings. View. Pelican Publishing Company, P. O. Box 189, Gretna, The book deals with many things that a professional clari¬ LA 70053, 1983, 192 pp., $19.95. netist would rarely if ever encounter, such as broken sockets This book has a magnificent objective. Etheridge's inten¬ and tenons, chipped tone holes, etc. Its treatment of these tions were to provide a forum within which some of the problems and other major disasters is very good, giving the world's leading clarinet players would discuss their interpre¬ average performer a good look at structural repairs, but less tations of the Mozart clarinet concerto in detail. Then, by so at "fine tuning" the clarinet. A rather large amount of sharing these analyses with us, our own interpretations of text is devoted to appearance only with some advice that this exquisite composition could be broadened and deep¬ could be considered controversial. I leave it up to reader to ened. Etheridge selected big guns: (1) Stanley Hasty, profes¬ decide whether or not a wooden clarinet should be washed sor of clarinet at the Eastman School of Music; (2) Robert with soap and water and then have its bore sanded. Thus, Marcellus, professor of clarinet at Northwestern University the book is what it claims to be: more of a guide than a and formerly principal clarinet with the Cleveland Orches¬ means of learning how to repair. tra; (3) Anthony Gigliotti, professor of clarinet at Temple Having said all this I must add that it is as good as many University and principal clarinet with the Philadelphia Or¬ others of the type. Surely it is as impossible to write a defini¬ chestra; (4) Harold Wright, principal clarinet with the Bos¬ tive book on repairing as it is to write a definitive method on ton Symphony; (5) Rudolf Jettel, formerly professor of clari¬ playing. There are simply too many variables and different net at the Vienna Academy and Conservatory and retired tools and techniques. In order to learn repairing well, one principal clarinet with the Vienna Philharmonic; (6) Ulysse would have to study with a skilled artisan. In fact, the au¬ Delecluse, formerly professor of clarinet at the Paris Conser¬ thors maintain a repair school. vatory; (7) Jack Brymer, principal clarinet with the London I should say that the book is extremely interesting and in¬ Symphony; and (8) Michele Incenzo, professor of clarinet at formative, although its practical value is less certain due to the Rome Conservatory. reasons just stated. The typescript is clear and easy to read, That's an impressive group and I was most eager to hear as are the charts and illustrations. Photographs tend to be too the views about one of my favorite compositions from these dark (not having enough contrast) and are not labeled, re¬ distinguished teachers and performers. It would not matter if quiring the reader to search through the text to find out what they presented views in conflict with mine. On the contrary, they mean. An index would have been helpful but the de¬ documenting multiple perspectives of this work is a worth¬ tailed Table of Contents and lengthy Glossary serve their while effort because one can learn a great deal from comple¬ purpose well. The section on flute is in the same vein as the mentary interpretations of the same composition. No per¬ one on clarinet, perhaps less detailed. To their credit the au¬ spective of any work should be so frozen or inflexible that it thors refer the reader back to the first section when similar cannot be influenced. And the views of these experienced advice holds instead of merely repeating the same text. The players would add a handsome body of detail to everyone's flute as a rule needs completely different repair techniques understanding of K. 622, a sort of neatly packaged set of than the clarinet, and so I pass on that part of the book. eight master classes on the finest composition in the clarinet¬ To conclude, I would like to list two books on repairing. ist's repertoire. When the present volume is assimilated with these its value is I mention this so that the reader will appreciate my impat¬ much enhanced. ience to begin reading the book. I entered it with high hopes, a positive attitude, and a genuine desire to view it favorably. Brand, Erick D. Band Instrument Repairing Manual. Elkhart, But I finished the book with both discouragement and disap¬ IN, 1946 and subsequent printings. From author. Still the pointment. Etheridge has produced a document so much less most important single text on repairing, although outdated valuable than it should have been that I am sick to think of in places. such a heady information resource put to this meager use. In short, I do not recommend this book. It is so undistinguished Schmidt, Robert. A Clarinetist's Notebook. Vol. I: Care & Re¬ in its execution that what should be a treasure trove of valua¬ pair. From author: Ithaca, NY, 1971 and subsequent edi¬ ble information appears to me to be a ponderous morass try¬ tions. Author observed Hans Moennig and gives his impres¬ ing to pass for both scholarship and literature. It is neither. sions of the latter's techniques. Not organized well, though Etheridge begins with a chapter entitled "An Introduction

50 — 1'he Clarinet to Mozart's Clarinet Concerto." In it he explains the origin (4) Stadler was acquainted with the basset horn long before of the work, discusses Mozart's use of the clarinet, gives a Etheridge's stated date of 1785 (p. 16); breakdown of each movement into its various structural sec¬ tions, and comments on some of the harmonic, rhythmic, (5) there is no clarinet in the Divertimenti, K. 439b (p. 17); and ornamental details which form the building blocks of the the works are scored for three basset horns; composition. Unfortunately, the chapter is so badly written, ponderous, poorly structured, old fashioned, and inaccurate, (6) the Serenade, K. 361 is not for thirteen woodwinds (p. that one loses courage before Chapter 2 begins. There is al¬ 16); it is for eight woodwinds, 4 brass, and a string bass; most no page without factual error. A sampling of the kinds of mistakes to be found in what should be an absolutely ac¬ (7) Etheridge states (p. 18) that there is "some evidence" curate handling of the subject follows. Some mistakes are that Mozart wrote the clarinet concerto for a basset clari¬ small. Others are more serious. None should exist. net; the evidence is overwhelming and it is unworthy of him to pussy-foot around this documented and indispu¬ (1) Alfred Einstein did not edit the sixth edition of the K6- table fact as if it were an unproved hypothesis of only chel catalog (p. 12, footnote 7); he edited the third edi¬ passing interest to the history of Mozart's clarinet con¬ tion; Giegling, Weinmann, and Sievers edited the sixth certo; edition; (8) two of the structural sections of the first movement of the (2) Mozart's first original work to include the clarinet was clarinet concerto are incorrectly specified (p. 26); the not the Divertimento, K. 186 (p. 14), it was the Divertimen¬ third orchestral ritornello does not conclude at measure to, K. 113; 248; it concludes at the end of measure 250; the final or¬ chestral ritornello does not begin at measure 344; it be¬ (3) the names/dates mixup as regards Stadler (p. 15) is scan¬ gins at measure 343; dalous: Johann Schink's first name is misspelled; Gabri¬ el Wilhelm Steinfeld's name is incorrectly given, the fact (9) there is not now, there has never been, and there will that the latter is a pen name for the former does not ap¬ never be a cadenza in Mozart's clarinet concerto (p. 26 pear to be known to Etheridge; and the date of Stadler's and elsewhere in this book); the item that Etheridge re¬ National Court Theatre concert is in error by 10 days; fers to is termed an "Eingang" and the things that the

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The Clarinet — 51 performer is expected to do in an Eingang are quite dif¬ time Etheridge gets to Incenzo's chapter, he has given some ferent than the things that the performer is expected to marvelous contrasts to think about. But it is a struggle to get do in a cadenza. that far in the book and the rewards are quite modest. One other aspect of these chapter-by-chapter contrasts deserves As for the style of presentation, the book is both wishy- mention, and that is the almost reverential acceptance by the washy and filled with sentences so convoluted as to imperil players of the authority of Breitkopf & Hartel's edition of the their very meaning. Consider the following (p. 21): "The concerto. I don't know why Etheridge or his interviewees are melodic element of the concerto appears to be highly calcu¬ so impressed by an authority that it is not deserved, but they lated in detail for the clarinet. In the melodic line of the work seem to be. The only real advantage of this edition is that it there appears to be no expressive field of the clarinet to happens to be very nicely printed: big notes, good page which Mozart did not contribute in a perfect way." I think turns, etc. It is no more authoritative (or less so) than any what Etheridge means is "Mozart writes well for the clari¬ other edition since none of them are based on the autograph net," but I am not really sure. And the leaden nature of the document. prose is so unending that, by the time one has read half a I warn the interested party that this is not a book for bed¬ page, much less half a chapter, one is overwhelmed by the side reading. It demands constant checking back and forth ponderous, clumsy handling of the English language. It re¬ between text and examples (the two often not being on the minds me of an aria in Gilbert and Sullivan's Patience where same page), continual reference to a score of the concerto Bunthorne sings, "If this young man expresses himself in (one with measure numbers), intense concentration, and terms too deep for me, why what a most particularly deep multiple readings of the many unclear passages. But, for young man, this deep young man must be." And the foot¬ anyone willing to put forth the effort, there are things of val¬ notes!! In a chapter of only 27 + pages, there are to be found ue here. The value lies not in the truth of what is said but in 61 footnotes, many of which simply do not cite anything val¬ the range of perspectives that experienced performers can uable enough to have been so noted. Some of the footnotes bring to the same material. Consider, for example, trill exe¬ cite material which has been superceded by more recent cution: some of the players execute trills from above the scholarship and, in several cases, secondary sources are pre¬ note, others from the note, some make that decision based on sented instead of the original ones (for example, Anderson's the direction of the theme at the moment the trill is encoun¬ translation of the Mozart letters, Townsend's translation of tered, some perceive trills romantically, others classically, Jahn's Mozart biography, and the Blom, Branscombe, and etc. It is not that I was unaware of these ornamental varie¬ Noble translation of Deutsch's documentary biography of ties, but there is some comfort in realizing that among such Mozart). distinguished performers there is no uniform understanding Things do not get much better in the chapters devoted to of how this ornament is executed, and this comforts my own the views of the eight interviewees (although there are a few insecurities about this element of performance practice. positive things to be said for this majority portion of the The musical illustrations in the book are outstanding: book). I admit that it is extremely difficult to precisely de¬ neat, clear, and readable. Occasionally, however, they are scribe how another person plays a work, even when the badly placed in that they are not near the text which refers to source of that description is the player. Such analyses require them. Further there are mistakes to be found in them: see ex¬ imaginative presentation, clarity of expression, and lightness ample 3.28 which is a two-line illustration with the first line of touch, qualities lacking in Etheridge's writing style. I appearing on p. 71; it contains a trill symbol associated with quote almost the complete opening material from the inter¬ the second line which appears on p. 72. See also example view with Stanley Hasty so that the reader can see what I 3.36 where the last note of m. 169 should be "f" and not mean when I accuse Etheridge's writing style of being ob¬ "g." There are also references in the text to examples which scure: do not exist and examples present for which I can find no "The appoggiatura figure of the principal theme, found in textual reference. measures 57 and 58 and in subsequent statements in the re¬ It is pointless to continue with further analysis of how this mainder of the movement, receives special attention [from book fails in so many ways and in so many places. But I Hasty]. It serves as a basis for the determination of emphasis would be remiss if I did not point out another party who of both pitches and dynamic phrasing in phrases of similar must share the blame in this enterprise. That party is Pelican construction and for the treatment of other nonharmonic Publishing Company of Gretna, LA, the book's publisher. tones. The successions of major or minor thirds near the be¬ They have failed in their book-publishing role by releasing ginnings of the subordinate theme group frequently appear such an incomprehensible document. It is the function of a within developmental material in the movement. Conse¬ publisher to provide competent editorial guidance, the editor quently, they are somewhat isolated by the added expression being concerned with the presentation of the material and that they receive." the author concerned with its content. While editors do not I hasten to add that I have had the pleasure of playing with write the text, their function is to be critical of it if as, in the Stanley Hasty. He does not talk like that, explain like that, case at hand, it borders on the unreadable. The only way or teach like that. So what does this jumbled, confusing text that Pelican Publishing Company could be unaware of the mean? I have no idea. difficulties of this book is if they neither read it critically nor A positive aspect of the book reveals itself if one persists sent it out to a panel of unbiased reviewers before agreeing to with it. Once Etheridge has presented his difficult-to- publish it. understand interpretations of Hasty's views, he has a basis If there is one thing that the clarinet playing community for cumulative comparisons. So, when he begins Marcellus' needs, it is a good book on the Mozart clarinet concerto: the chapter, he can and does contrast the two views. And when circumstances of its compositions, its architecture, and a ser¬ Gigliotti's perspectives are given, they are presented in light ies of clearly understandable and enlightened performance of the views of the two previous players, and so on. By the perspectives from players of great skill and experience. This

52 — The Clarinet is not that book. MUSIC for the CLARINET by

The author replies... MEYER K I am pleased that in the opening remarks of his review of UPFERMAN Mozart's Clarinet Concerto my good friend Dan Leeson has rec¬ ognized the value and need of a comparative study which fo¬ cuses on the interpretive aspects of Mozart's Concerto for clar¬ inet. The documentation of multiple perspectives of the Con¬ certo, especially as performed by eight of the most respected clarinetists of our time, should indeed broaden and deepen the knowledge of those who are involved with the perfor¬ mance and teaching of one of the most frequently performed and most revered works in the clarinet literature. Mr. Leeson states further into his review: "For anyone willing to put forth the effort there are things of value here." He then cites the differences among the players in their re¬ spective approaches to the trills in the concerto. I must add that each of the eight chapters regarding the performers deals with far more items than the trills. Each of these chapters, which comprise the main body of the book, includes the unique aspects of the performers' approach to style, dynam¬ UNACCOMPANIED CLARINET SONGS Moon/lowers, Baby! The Conceptual Wheel (1968)* ics, articulation, dynamic phrasing, form, notational chang¬ (1983) Jazz Essay (Sop., Clar., & Pno.) cycle of 3 es and the cadenza in the Adagio movement. Regardless of its Five Little Infinities (1981)* Adjustable Tears (1977) German terminology, the eight performers and readership Infinities #33 (1982) (Sop., Clar., & D Bass) Jazz Cycle Four Flicks (1980)* Sixth Sonnet (1981) call it a cadenza. Perhaps most importantly each chapter of Five Singles (1968)* (Sop., Clar. & Cello) aria this section contains an overview in which the artist-teacher's CLARINET & PIANO CLARINET, FLUTE & OBOE general philosophies of clarinet performance and, more spe¬ Sound Objects #4 (1978) A Spring Trio (1981) cifically, their approach to Mozart's music are presented. Four on a Row (1965)* Windspells (1982) (also Picc., Alto Fl., Eng. Hrn., These overviews often cite valuable interpretive advice CLARINET & FLUTE & E-flat Clarinet) passed along by conductors with whom the clarinetists have Four Constellations (1970)* Four Charades (1959)* CLARINET & STRING TRIO performed the work. Poetics #5 (1983) In his review Mr. Leeson includes only minimal reference CLARINET & PICCOLO Short Shrift (1970)* TWO CLARINETS & PIANO to the main body of the book and fails altogether to mention Infinities #31 (1981) the final chapter which draws comparative conclusions about CLARINET & BASSOON Duo Divertimento (1947)* MIXED TRIOS the interpretations discussed. Tunnels of Love (1970) I am grateful for Mr. Leeson's corrections of the factual CLARINET & CELLO a jazz concerto The Good Friends Duo (1972) (Clar., Bass & Drums) errors in the introductory chapter. These will be considered Air Phantoms (1981) Torchwine (1982) in future editions of the book. Concerning my treatment of a secular cantata CLARINET & GUITAR (Basset Horn, Sop. & Piano) the basset-clarinet: While recent and totally conclusive evi¬ Premeditation (1975) Sound Objects #8 (1978) dence supports theories that the Concerto was composed for (Clar., Viola & Bass) CLARINET & SOPRANO Trio Concertante (1948) the basset-clarinet, at the time of writing none of the eight Miickenschwarm (1982) (Clar., Flute & Violin) performers paid extensive homage to these suppositions Three Blake Songs (1971) Poetics #6 (1983) (Clar., Viola & Piano) through the use of transpositions such as seen in Alan Hack¬ CLARINET & TAPE er's excellent edition. Soundspells #6 (1982) MIXED QUARTETS The Red King's Throw (1977) Each of the performer-subjects in the book was given an TWO CLARINETS (Clar., Cello, Pno. & Perc.) opportunity to make corrections and additions to the materi¬ Four Double Features (1970)* Soundspells Four (1982) (Clar., Oboe, Cello & Piano) al which dealt with them. The artists involved (including CLARINET & OBOE Stanley Hasty!) took pains to ensure that the material re¬ Infinities 32 (1981) NEW WORKS Clarinet Concerto (1984) garding them was both accurate and clearly stated. CLARINET & VIOLIN (Clar. and Orch.) Throughout the book an attempt was made to present the The Garden of My Father's House Image (1984) (1972)* (Clar. and Viola) material in an organized and impartial manner. Mr. Lee- Three Foe Two (1970)* Five Flings (1984) son's ill-mannered statements regarding writing style are (Clar. and Piano) simply not true. Those pieces marked with an (*) are available through: Mozart's Clarinet Concerto was expressly written for those Boston Music Co. whose primary interest in the clarinet involves either playing Airport Drive, Hopedale, MA 01747 (617) 478-4813 or teaching the instrument. By profession (He is employed All other works may be ordered by writing or phoning by IBM.) or avocation (He is an amateur musical scholar.), MEYER KUPFERMAN Dan Leeson is neither of the above. I feel strongly that those 86 Livingston St., Rhinebeck, NY 12572 readers for whom it was intended will both enjoy and benefit (914) 876-6295 or (212) 724-5357 request tape or disc recordings can be made available for most of these works. musically from their study of this book. Composer's reprints may be obtained if any works are out of print. David Etheridge

The Clarinet — 53 New music reviews

By Fred Ormand, University of Michigan The number and length of the movements give this composi¬ tion the feeling of a serenade or divertimento rather than a Johann Baptist Schenk (ed. R. P. Block and H. Voxman), Concertante in E-flat for Clarinet, Violin, and Orchestra (re¬ concerto. The style is somewhere between Rococo to early duced for Clarinet, Violin and Piano). Musica Rara, Mon- Classic. Technical demands for both clarinet and violin are teux, France (U.S. Agent Musica Rara-U.S.A., 305 Bloom- moderate with only a few difficult spots, especially in the fi¬ field Avenue, Nutley, NJ. 07110 201/667-0956), 1982, nal movement. $18.75. While not a great musical composition, this work adds to an otherwise limited solo repertoire for clarinet and violin In the preface to this edition R. P. Block and H. Voxman with orchestra. (I presume that the orchestral scores and provide the following information: parts could be located by writing to H. Voxman.) The work, Johann Baptist Schenk was born 30 November 1753 in however, has charm and grace. It could effectively feature Wiener-Neustadt and died 29 December 1836 in Vienna. two fine soloists and is a well-edited publication. He served as a choir boy in his youth and later studied violin. From 1774 to 1777, he was a student of Georg Heinrich Baermann (ed. John P. Newhill), Introduction and Christoph Wagenseil. A mass of Schenk's, performed in Polonaise, Op. 25 for Clarinet and Piano. Musica Rara (Mu¬ 1778, launched him on a successful career as a composer. sica Rara-U.S.A., 305 Bloomfield Avenue, Nutley, N. J. He wrote some additional pieces of sacred music, then 07110 201/667-0956), 1981, $7.50. turned his attention to composing for the theatre. His In his preface John P. Newhill states, "Like many players Singspiele and operas were quite popular. He did, how¬ of his time, Baermann composed a number of pieces to show ever, compose for a variety of media. His instrumental off his powers of expression and his virtuosity. This Introduc¬ works include a Concertante for clarinet, horn and orches¬ tion & Polonaise is one of these; it must have been popular, as tra, a Quartet in FMajor for flute, 2 English horns and bas¬ it was published by four publishers — Breitkopf & Hartel (in soon, II Matrimonio Segreto for oboe, violin, viola and cello 1820), Costallat, Richault and Schott." (1792), and an Andante Cantabile for clarinet and orchestra. This publication is beautifully edited. Editorial changes Today, Schenk is perhaps best known for having un¬ and corrections are clearly marked for both the clarinet and dertaken to secretly teach the young Beethoven, who had piano parts. become discouraged with his progress under Haydn. The Introduction and Polonaise is similar in technical difficul¬ The Concertante is in six movements: Allegro con spirito, An- ty to the third movement of the von Weber Second Concerto. dantino, Menuetto, Andante cantabile, Menuetto, and Rondeau. Musical content is somewhat lacking. Good fun, but not pre¬ tentious.

Giacchino Rossini (arr. Yona Ettlinger), Sonata No. 3 for clarinet and piano. Boosey and Hawkes, 1982, $7.75. Clarinet (Tlusic This music will be familiar to most clarinetists as a quartet for flute, clarinet, bassoon and horn, originally one of a set of string sonatas Rossini wrote when he was only twelve years old. The sonatas were scored for two violins, cello, and bass. our stock is Later Rossini created the version for winds. This transcription presents the clarinetist with a sonata vast... from a stylistic period where no original sonatas for clarinet exist. varied... As with previous editions by Yona Ettlinger, this is very well done, i.e., with good piano writing and excellent editing for clarinet. Since the string and wind quartets have the ad¬ bur stock is vantage of great variations of tonal colors, the clarinetist must use good musical imagination and skill to achieve a tru¬ unsurpassed ly exciting performance. The third movement is especially well suited for clarinet. This is enjoyable music, well-adapted for clarinet.

J. S. Bach (arr. Thea King), Duets for Two Clarinets. Boosey We invite your inquiry of hard-to-find repertoire for and Hawkes, 1981, $6.00. clarinet (solo and ensemble), and would delight in making recommendations for your particular needs. This is an excellent collection of music, most of which has not previously appeared in this form. All but two of the four¬ mastercard/Visa credit cards accepted. teen pieces are taken from Bach's keyboard music. They (Please supply complete account number and expiration date) have been carefully edited, allowing for breathing necessities of the wind player while maintaining the musical line and phrasing. I particularly like the music taken from the Gold¬ berg Variations. 4318 ITlain Street LwiD^^N, Kansas City, fTIO 64111 Musically very demanding while being only moderately difficult technically, clarinetists should find this music re¬ warding as it provides an opportunity to enjoy some of the best music of the Baroque period.

54 — The Clarinet By Ewart Willey the players' point of view it has the additional virtue of being within the capability of a competent amateur duo. For the Howard Quilling, Fantasy for clarinet in B-flat and piano. listener, it is not just another light suite, and, though in an The composer, 3001 Harmony Drive, Bakersfield, CA atonal idiom, is not forbidding. 93306, U.S.A. The music comes as a photocopy of a very clear manu¬ The composer, who was born in 1935, has had an exten¬ script. Unfortunately, there are two bad page turns in the sive musical training; his composition teachers have included clarinet part, also the bar numbering is in error between bars Ingolf Dahl, Peter Racine Fricker, Ellis Kohs, and Halsey 90 and 110 and from bar 140 to the end, and there are two Stevens. separate bars missing from the clarinet part (nos. 87 and The Fantasy is in three movements. The first is marked 190). Lastly, "stopped" notes are called for in three bars of Moderato ( d = 80) and is almost entirely in 4/4 time. It is lyr¬ the piano part of the first movement which could not be phy¬ ical in nature but with a middle section with the instruction sically achieved by my pianist acquaintances. However, to the players "mechanistic" and which requires some dex¬ these "special effects" seem less than vital. terity. The second movement is slower ( ^ = 72) and, apart In summary, a good and interesting work in an atonal idi¬ from its middle section, has a 6/8 time signature. Its mood is om — I look forward with anticipation to further clarinet one of wistfulness. The last movement is fast ( d = 100 +); compositions by Mr. Quilling. its rhythm is 2/4 interspersed with 3/4. It is in the form of a rondo. New publications for future review... Each movement makes use of a tone row; there is exten¬ sive use of contrapuntal devices and much canonic ingenuity Jorgen Bentzon, Sonatina, Op. 7, for flute, clarinet, and bas¬ is displayed. soon. Skandinavisk Musikforlag, Copenhagen (U.S. Agent: I found this to be a well written work of very considerable Magnamusic-Baton, Inc., 10370 Page Industrial Boulevard, interest and merit. The three movements are balanced and St. Louis, MO 63132.) make a convincing whole. The piece has not palled with in¬ Franz Tischhauser, The Beggar's Concerto (1976) for clarinet and creasing acquaintance, indeed very much the reverse. From string orchestra (piano reduction). Edition Amadeus —

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Bamber mouthpieces match the critical parts: facing, table, baffle, and chamber are in perfect balance to provide evenness of scale and full tone. In fact, all you could ask of a mouthpiece. Ask your favorite music store for a playtest. KiHrn'R And write or call for our brochure with specifications and facings. 50741 U.S. 31 North South Bend, IN 46637 Bamber mouthpieces for Bb clarinet and saxophones: $39.00 to $75.00. 1-800-348-5003

The Clarinet — 55 U.S.A., 305 Bloomfield Avenue, Nutley, NJ 07110. Serge Rachmaninoff (tr. Kocsis), Vocalise, Op. 34, No. 14, Caspar Diethelm, Quartet, Op. 167 (1980), for clarinet, 2 vio¬ for clarinet and piano. Editio Musica, Budapest (U.S. lins, and cello. Edition Amadeus. Agent: Boosey and Hawkes). Nicola Miaskowsky (tr. James Lester), Fugue in a Classic Style James Hook (ed. Brymer), Concerto for clarinet and orchestra for clarinet and bass clarinet. JTL Publications, 345 S. Cit¬ (piano red.). Joseph Weinberger. rus Avenue, Los Angeles, CA 90036. Ludwig Spohr, Fantasy and Variations for Clarinet and Band, George Frederick McKay, Instrumental Duo Suite for B-flat arr. Ralph Hermann, ed. David Glazer. Southern Music clarinet and violin, viola, cello, etc. JTL Publications. Company, San Antonio, TX. Duncombe, Lohlein, andj. S. Bach (tr. James Lester), 3 Ba¬ Franz Schubert (arr. Lancelot), L'Abeille, Op. 13, No. 9, for roque Pieces. JTL Publications. B-flat clarinet and piano. Editions Musicales Transatlan- tiques (U.S. Agent: Theodore Presser). Alexander Gretchinaninoff (tr. James Lester), Miniatures for 3 Clarinets. JTL Publications. Francois Vercken, Manege for four clarinets. Editions Musi¬ cales Transatlantiques. Dimitri Kabalevsky (tr. James Lester), Sketches for Three for B-flat clarinets, JTL Publications. Raoul Barthalay, Cinq petits duos for B-flat clarinets. Editions Robert Martin (U.S. Agent: Theodore Presser). Purcell, Fischer, and Couperin (tr. James Lester), Court Dances for 2 B-flat clarinets and bass clarinet. JTL Publica¬ Johannes Brahms (ed. Robert Cavally), Sonata No. 2, Op. tions. 120, No. 2 for B-flat clarinet and piano. Southern Music Company. C.P.E.,J.C.F.,J.S., and W.F. Bach (tr. James Lester), J.S. Bach and Sons, for 2 B-flat clarinets and bass clarinet. JTL Betty Bang Mather and David Lasocki, The Art of Preluding, Publications. 1700-1830, 1700-1830, for Flutists, Oboists, Clarinettists, and Other Performers. McGinnis and Marx Music Publications. George Frederick McKay, Five Pieces for clarinet quartet. JTL Publications. Robert Schumann (arr. Lethiec), Chant du soir for clarinet and piano. Editors Musicales Transatlantiques (Presser). Eric Simon (tr.) Great Clarinet Classics for clarinet and piano. G. Schirmer. Florent Schmitt, Sextuor, Op. 128, for clarinets. Gerard Bill- audot (Presser). Franz Danzi (ed. J.P. Newhill), Sinfonia Concertante, Op. 41, for flute, clarinet, and orchestra (piano red.). Musica Rara Arcangelo Corelli (arr. Goldsmith), Gigue from Sonata No. 9 — U.S.A., 305 Bloomfield Avenue, Nutley, NJ 07110. for solo flute or B-flat clarinet and variable woodwind quar¬ tet, with optional keyboard. Theodore Presser. Igor Stravinsky (arr. Ray Jackendoff), March, Waltz, and Polka for clarinet and piano. Chester Music (U.S. Agent: Magnamusic-Baton, Inc.) Manuel de Falla (arr. Charles Schiff), Two Pieces from El Index of Advertisers Amor Brujo for clarinet and piano. Chester Music. Bob Ackerman 48 Harry Bulow, Contours for clarinet. Silver Mace Publica¬ Bamber 59 tions, P.O. Box 534, Santa Barbara, CA 93102. Boosey & Hawkes Buffet Crampon .... inside back cover C. G. Conn, Ltd 9 Crystal Records 17 David Glazer 34 Meyer Kupferman 57 La Voz 15 Leon Lester Editions 51 Ludco 55 Luyben 25, 58 National Clarinet Suppliers, Inc 38 North American Saxophone Alliance 52 Oberlin College Conservatory of Music 53 Olathe Band Instrument 49 PerfectaReed 41 Kyle M. Peterson 34 Leblanc inside front cover Rayburn Musical Instrument Co 21 Russianoff Wind Instruments 21 Selmer back cover SHALL-u-mo 19 Sounds of Woodwinds 40 Theodore Presser Company 39 Tom's Clarinet Service 10 University of Oklahoma Clarinet Symposium 29 be playing with Lawrence Welk. Yamaha 7, 13

56 — The Clarinet pour I'eleve

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